Spatial Videos can then be edited in Final Cut Pro for Mac, and shared and viewed in the new Vimeo app for VisionOS. This new professional workflow will be available this fall.
...so we knew that Spatial Video features were already on the cards, but we got some new surprises in the Mac mini video:
-
Specifically two new machine learning features:
FIXES: – Fix issue when files with non standard characters would cause Colourlab to crash -– Improved handling of unsupported files files fetching from Davinci or Premiere +– Improved handling of unsupported files fetching from Davinci or Premiere – Fixed issue when some Sony camera MP4 files where not playing – Fixed issue when some BMD camera originated H264 files would not play – Fixed Issue When selecting multiple shots (using ctrl/cmd) it would jump to the first selected shot From a9673b352536b66fcb218bfb8ec59ee0a8702a2b Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:46:31 -0500 Subject: [PATCH 010/195] spelling: flat out Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/_includes/latenite/marker-toolbox.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/_includes/latenite/marker-toolbox.md b/docs/_includes/latenite/marker-toolbox.md index 0f4bafb61d..7c9ce2c839 100644 --- a/docs/_includes/latenite/marker-toolbox.md +++ b/docs/_includes/latenite/marker-toolbox.md @@ -27,7 +27,7 @@ Marker Toolbox requires Final Cut Pro 10.6.5 or later. #### User Reviews :::review -I’ve been absolutely flatout while working in Thailand. +I’ve been absolutely flat out while working in Thailand. [Wipsters](https://www.wipster.io) has been great, helping me manage projects and reviewers across four countries. Stoked [Marker Toolbox](https://markertoolbox.io) can send Wipster notes straight into #fcpx _Alister Robbie via [Twitter](https://twitter.com/alisterrobbie/status/1664105856475238400)_ From 5132567c65e3b78229228f0d3d1b1053c93cbe93 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sat, 9 Nov 2024 23:54:41 -0500 Subject: [PATCH 011/195] spelling: formula Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/developers/fcpxml.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/developers/fcpxml.md b/docs/developers/fcpxml.md index 971f531896..efddde3f4c 100644 --- a/docs/developers/fcpxml.md +++ b/docs/developers/fcpxml.md @@ -435,7 +435,7 @@ However we need to go a few more layers deep: Confusingly, for the `multicam` node, instead of `offset` we use `tcStart`. Also, because there is no `start` value in the `multicam` node, we can just use 0. -The forumula now looks like this: +The formula now looks like this: > `asset-clip.start` + `frameOfInterest` − `asset-clip.offset` + `sync-clip.start` − `sync-clip.offset` + 0 - `multicam.tcStart` + `mc-clip.start` - `mc-clip.offset` From fff0166a2b3e84476b394717d6a9d2676813af72 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sat, 9 Nov 2024 23:54:54 -0500 Subject: [PATCH 012/195] spelling: forty Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/_includes/news/20231225.md | 2 +- docs/rss.xml | 2 +- 2 files changed, 2 insertions(+), 2 deletions(-) diff --git a/docs/_includes/news/20231225.md b/docs/_includes/news/20231225.md index d19f58c233..66b8ef53c2 100644 --- a/docs/_includes/news/20231225.md +++ b/docs/_includes/news/20231225.md @@ -117,7 +117,7 @@ Inspired by this Tweet, here's an old blog post I wrote back in December 2008: > > With the grade now completed, we exported out AJA 10-bit Uncompressed RGB Quicktimes. We then used the AJA QTtoDPXTranslator to unwrap the Quicktime Files back to DPX files. As the AJA tool simply “wraps” the files – it doesn’t transcode them or anything like that, this process is really fast, although you do have to do it manually. For me, that means I have to do everything 69 times which isn’t too bad. The only annoying thing is that you have to rename all the clips again, as Color names everything sequentially, and we wanted everything named as per the bible (i.e. the EDL). > -> Now with a whole heap of beautifully graded DPX sequences, it was time to do the online. I ended up doing this at University on a nice and speedy MacPro in After Effects CS3. I imported all of the DPX sequences, and then manually put them all in the correct places based on the printed EDL. Once that was complete I simply rendered out a Quicktime File using the Animation Codec. Here is a photo taken at about four o’clock in the morning after I’d been at uni for about fourty hours STRAIGHT working on Sakooz. You can see the insanity in my eyes. +> Now with a whole heap of beautifully graded DPX sequences, it was time to do the online. I ended up doing this at University on a nice and speedy MacPro in After Effects CS3. I imported all of the DPX sequences, and then manually put them all in the correct places based on the printed EDL. Once that was complete I simply rendered out a Quicktime File using the Animation Codec. Here is a photo taken at about four o’clock in the morning after I’d been at uni for about forty hours STRAIGHT working on Sakooz. You can see the insanity in my eyes. > >  > diff --git a/docs/rss.xml b/docs/rss.xml index a6434ec99d..52c7c2a9ac 100644 --- a/docs/rss.xml +++ b/docs/rss.xml @@ -4161,7 +4161,7 @@ Requirements: OS13+ or Windows 10.
Originally we had planned to do the grade at one of the major post houses in Melbourne, but due to a lack of time and money, we ended up getting a very talented film school graduate called Nick Reid to do the grade in Apple’s Color. Getting the DPX files into Color proved to be a bit more tricky than anticipated! We ended up purchasing yet another 1TB SATAII drive (called Gizmo) for the colour grade.
What we ended up doing was wrapping all the DPX files as Quicktimes manually using AJA’s free DPXtoQTTranslator utility. Once all of the DPX’s were wrapped (including all the visual effects), we manually re-created the Final Cut Pro timeline based on the printed EDL using the newly wrapped Quicktime files. We then exported out a XML file from Final Cut Pro. This XML file was brought into Color and grading could commence. Nick took a couple of days to do the grade, and once completed, he handed back Gizmo, ready for the final stages!
With the grade now completed, we exported out AJA 10-bit Uncompressed RGB Quicktimes. We then used the AJA QTtoDPXTranslator to unwrap the Quicktime Files back to DPX files. As the AJA tool simply “wraps” the files – it doesn’t transcode them or anything like that, this process is really fast, although you do have to do it manually. For me, that means I have to do everything 69 times which isn’t too bad. The only annoying thing is that you have to rename all the clips again, as Color names everything sequentially, and we wanted everything named as per the bible (i.e. the EDL).
-Now with a whole heap of beautifully graded DPX sequences, it was time to do the online. I ended up doing this at University on a nice and speedy MacPro in After Effects CS3. I imported all of the DPX sequences, and then manually put them all in the correct places based on the printed EDL. Once that was complete I simply rendered out a Quicktime File using the Animation Codec. Here is a photo taken at about four o’clock in the morning after I’d been at uni for about fourty hours STRAIGHT working on Sakooz. You can see the insanity in my eyes.
+Now with a whole heap of beautifully graded DPX sequences, it was time to do the online. I ended up doing this at University on a nice and speedy MacPro in After Effects CS3. I imported all of the DPX sequences, and then manually put them all in the correct places based on the printed EDL. Once that was complete I simply rendered out a Quicktime File using the Animation Codec. Here is a photo taken at about four o’clock in the morning after I’d been at uni for about forty hours STRAIGHT working on Sakooz. You can see the insanity in my eyes.
The only thing left to do was sound! Once Frank (our composer) finished, he simply gave us a 24-Bit 48KHz Broadcast Wave File, which we threw into Final Cut Pro. After a bit of tweaking – adjusting the sound effect levels to suit the new score, the sound was ready to rock and roll! Originally we had planned to do a quite complex 5.1 mix just for fun – but at the end of the day, no one was ever going to listen to it in surround sound anyway, so we decided to skip on that idea (for now at least). Once the sound was done, we exported an AIFF and then merged the Animation Codec video and AIFF together to create the Final Quicktime Master!
From that Quicktime master we than could do any DVD, web, Blu-ray, etc. encodes using Compressor.
From 2c8d758a8e8c0f06b2d85f4df6c4b8a107305faa Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:47:24 -0500 Subject: [PATCH 013/195] spelling: had Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/developer-case-studies/transcriber.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/developer-case-studies/transcriber.md b/docs/developer-case-studies/transcriber.md index 103c5b008d..8996dae801 100644 --- a/docs/developer-case-studies/transcriber.md +++ b/docs/developer-case-studies/transcriber.md @@ -231,7 +231,7 @@ I then explained the reasons why this new app of mine could be something alterna In concomitance with NAB, where several apps that make use of artificial intelligence to aid production and post production were presented or announced, those in charge of FxFactory were convinced and switched on the green light. -One thing needs to be emphasized: FxFactory is not only a store, a showcase, but those who run it put their faces first and consequently require a level of quality, communication, and even user experience that is far superior to what I had had up to that point. +One thing needs to be emphasized: FxFactory is not only a store, a showcase, but those who run it put their faces first and consequently require a level of quality, communication, and even user experience that is far superior to what I had up to that point. If I had commercialized Transcriber all by myself, it would probably have come out in some form of its own in late April or early May 2023. From 882273ab3cb2d7afed44883001ce6006e4e8990c Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sat, 9 Nov 2024 23:56:43 -0500 Subject: [PATCH 014/195] spelling: house Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/openletter.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/openletter.md b/docs/openletter.md index e3340f5067..6559ad52c5 100644 --- a/docs/openletter.md +++ b/docs/openletter.md @@ -114,7 +114,7 @@ Signed, 42. Tanneguy O'Meara, Editor of ‘Gerard Depardieu : Mon Reve Ouzbek,’ Feature Documentary, France 43. Helgi Thor, Editor of ‘Cine Holliúdy 2: A Chibata Sideral ,’ Feature Film, Brazil 44. Riffaud Richard, Editor of ‘Cobweb,’ Feature Film, US -45. Stephen Nahorniak, Editor of ‘Open Hous,’ TV Reality, TV Documentary, TV Non-Fiction, US +45. Stephen Nahorniak, Editor of ‘Open House,’ TV Reality, TV Documentary, TV Non-Fiction, US 46. Steven Sanders, editor in chief, Editor of ‘War of the Worlds S3,’ TV Drama Series, UK 47. Kilian von Keyserlingk (BFS), Editor of ‘Kilian von Keyserlingk,’ TV Limited Series/Mini Series, Germany 48. Maria Gans, Editor of ‘Bibi und Tina - Einfach Anders ,’ Feature Film, Germany From 18afb530d27c6fece8e4e45d811f8e423d0f83ae Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:47:49 -0500 Subject: [PATCH 015/195] spelling: many, many, more Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/_includes/tools/scopebox.md | 2 +- docs/case-studies/indias-space-odyssey.md | 2 +- 2 files changed, 2 insertions(+), 2 deletions(-) diff --git a/docs/_includes/tools/scopebox.md b/docs/_includes/tools/scopebox.md index 05509c1b3d..a85bba9374 100644 --- a/docs/_includes/tools/scopebox.md +++ b/docs/_includes/tools/scopebox.md @@ -1,5 +1,5 @@ ### ScopeBox -All the audio & video scopes you'd expect from hardware, and many many more. A custom toolset crafted for creative professionals - colorists, editors, DITs, and sound. Mix and match scopes, save layouts, and be confident that you're seeing every pixel and every frame of your signal. +All the audio & video scopes you'd expect from hardware, and many, many, more. A custom toolset crafted for creative professionals - colorists, editors, DITs, and sound. Mix and match scopes, save layouts, and be confident that you're seeing every pixel and every frame of your signal. [!button text="Visit Website" target="blank" variant="info"](https://hedge.video/scopebox/) \ No newline at end of file diff --git a/docs/case-studies/indias-space-odyssey.md b/docs/case-studies/indias-space-odyssey.md index 92910a8e8f..0c7155f19e 100644 --- a/docs/case-studies/indias-space-odyssey.md +++ b/docs/case-studies/indias-space-odyssey.md @@ -28,7 +28,7 @@ In terms of editing, I was editing on a 2017 27-inch iMac with 24GB RAM and an e That said, there were still some genuine questions during the project, some answered and some had to be taken outside FCPX for help. Those addressed were like when exporting master the Discovery specification required a .mxf (OP1a) and I had to dig internet to learn and satisfy my director, that FCPX’s MXF export is by default wrapped in OP1a format. Others that did not find an answer were like the LKFS parameter, for which I could not find a solution within FCPX and I had to take my export file to Premiere Pro which had a LKFS meter. -Beyond performance and stability, I also use FCPX because I find the interface design much less intimidating and chaotic as compared to its contemporaries. The only complain is that there’s much less confidence in the industry on FCPX. And since I do not edit on any other NLE, I am turned down on many many more gigs compared to the numbers I am accepted on. Apple too seem to not take it with much seriousness as they do to their other products. Lately I have been looking towards Resolve to switch, if that ever happens. +Beyond performance and stability, I also use FCPX because I find the interface design much less intimidating and chaotic as compared to its contemporaries. The only complain is that there’s much less confidence in the industry on FCPX. And since I do not edit on any other NLE, I am turned down on many, many, more gigs compared to the numbers I am accepted on. Apple too seem to not take it with much seriousness as they do to their other products. Lately I have been looking towards Resolve to switch, if that ever happens. --- From 8c2527b3c69adad4bdc3e608c44cf60b3925b10c Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sat, 9 Nov 2024 23:58:53 -0500 Subject: [PATCH 016/195] spelling: minimum Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/developer-case-studies/transcriber.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/developer-case-studies/transcriber.md b/docs/developer-case-studies/transcriber.md index 8996dae801..6b1cf82dc1 100644 --- a/docs/developer-case-studies/transcriber.md +++ b/docs/developer-case-studies/transcriber.md @@ -289,7 +289,7 @@ In the meantime, we got to the beginning of June 2023, I kept asking to get the They were certainly right, but the timing of these final cleanups and subsequent approval left me with an open project, and every time I used it, which happens pretty much every day, I would come up with little features to add. -As a result, what should have been a **"Minumum Viable Product"** was becoming an increasingly complex application, and of course with the need to handle any bugs I would generate by adding new code. +As a result, what should have been a **"Minimum Viable Product"** was becoming an increasingly complex application, and of course with the need to handle any bugs I would generate by adding new code. --- From f2287a91994915b0161107951e9d123c64ff10e7 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:00:19 -0500 Subject: [PATCH 017/195] spelling: obsolete Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/case-studies/the-shadow.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/case-studies/the-shadow.md b/docs/case-studies/the-shadow.md index ae7f8b69e1..9ee8334799 100644 --- a/docs/case-studies/the-shadow.md +++ b/docs/case-studies/the-shadow.md @@ -223,7 +223,7 @@ Or you can simply have a nice gallery of your episode to get an impression of th Line-by-Lines, or parts, as I call it, is the process of splitting every take of one scene into little chunks, usually for one line of dialogue or one particular action. These little chunks are reordered so that you can watch every similar part of every take in succession. In this way you can quickly compare every angle and find the best shot or dialogue. !!! -Shortly before our production started Chris Hocking had the **Titles to Keywords** feature for [CommandPost](/ecosystem/tools/#commandpost) ready (commissioned by Knut Hake) and it rendered my old workflow obsolet. Before, we would tag every Sync Clip in the Browser with keywords. Even with dedicated shortcuts and scripting it was not an easy task. If you made a mistake and had to go back one step you could loose orientation. Now, we can complete the entire process within a timeline and with titles and we can also adjust each step throughout the process. +Shortly before our production started Chris Hocking had the **Titles to Keywords** feature for [CommandPost](/ecosystem/tools/#commandpost) ready (commissioned by Knut Hake) and it rendered my old workflow obsolete. Before, we would tag every Sync Clip in the Browser with keywords. Even with dedicated shortcuts and scripting it was not an easy task. If you made a mistake and had to go back one step you could loose orientation. Now, we can complete the entire process within a timeline and with titles and we can also adjust each step throughout the process. As you can see below its as easy as: From 277c6f1dff5a38e672689bcb98023311a21ee270 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:00:45 -0500 Subject: [PATCH 018/195] spelling: overwrite Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/case-studies/the-shadow.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/case-studies/the-shadow.md b/docs/case-studies/the-shadow.md index 9ee8334799..a71d645a36 100644 --- a/docs/case-studies/the-shadow.md +++ b/docs/case-studies/the-shadow.md @@ -141,7 +141,7 @@ But you can open a copy of the last safe at any time.  All additional Media, like Music, VFX-mixdowns, SoundFX, etc., is synced via postlab.drive. -Setting up PostLab.drive to sync the additional files on 4 workstations correctly takes a little bit of effort, comparable to other backup-structures. The goal here is to not duplicate files or overwright folders. (Thanks [Sam Plue](https://twitter.com/sam_plue?s=20) for the help!) +Setting up PostLab.drive to sync the additional files on 4 workstations correctly takes a little bit of effort, comparable to other backup-structures. The goal here is to not duplicate files or overwrite folders. (Thanks [Sam Plue](https://twitter.com/sam_plue?s=20) for the help!) This was the Finder folder structure on every workstation: From 1d444c1fd47a2068be8e4e0e65fd2567c8650451 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:01:05 -0500 Subject: [PATCH 019/195] spelling: perfectly on Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/case-studies/guardians-of-himalayas.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/case-studies/guardians-of-himalayas.md b/docs/case-studies/guardians-of-himalayas.md index 77b1ff3116..d5cd14fef4 100644 --- a/docs/case-studies/guardians-of-himalayas.md +++ b/docs/case-studies/guardians-of-himalayas.md @@ -194,7 +194,7 @@ Pramodh K\. T ### Storytelling at its most powerful -Throughout the project, I didn't face any project errors or library errors, and the powerful Final Cut Pro delivered maximum performance with good stability and faster working which helped me to achieve the goal. The super cool features like Automatic speed (Video Conforming) and Optical Motion manage all things perfectlyon a top model of intel 27 inch iMac +Throughout the project, I didn't face any project errors or library errors, and the powerful Final Cut Pro delivered maximum performance with good stability and faster working which helped me to achieve the goal. The super cool features like Automatic speed (Video Conforming) and Optical Motion manage all things perfectly on a top model of intel 27 inch iMac In Asianet News, we use Final Cut Pro X from Version 10.2 to 10.6.8. As a 24x7 news channel, we use the potential and speed of Final Cut at every moment. More than 24 video editors edit stories, explainers, programs, events, news headlines, and web content every day by exploring the creative world through the Final Cut Pro Eco System. From ad20b7f8d292b4d0aeb7e617948979e02cb55123 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:01:37 -0500 Subject: [PATCH 020/195] spelling: portrait Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/cut-on-fcp.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/cut-on-fcp.md b/docs/cut-on-fcp.md index b9cb59785f..b62e95fc17 100644 --- a/docs/cut-on-fcp.md +++ b/docs/cut-on-fcp.md @@ -113,7 +113,7 @@ Here's some other success stories: - Ripples Of Life (2021) {{fcpx}} {{imdb}}(https://www.imdb.com/title/tt13736078/) - The Business of Christmas 2 (2021) {{fcpx}} {{imdb}}(https://www.imdb.com/title/tt14662334/) - Why? (2021) {{fcpx}} {{imdb}}(https://www.imdb.com/title/tt10313806/) -- The Portait of a Nightmare (2020) {{fcpx}} {{imdb}}(https://www.imdb.com/title/tt11853706/) +- The Portrait of a Nightmare (2020) {{fcpx}} {{imdb}}(https://www.imdb.com/title/tt11853706/) - May the Devil Take You Two (2020) {{fcpx}} {{imdb}}(https://www.imdb.com/title/tt10776270/) - Isi & Ossi (2020) {{fcpx}} {{imdb}}(https://www.imdb.com/title/tt9806322/) - La leyenda negra (2020) {{fcpx}} {{imdb}}(https://www.imdb.com/title/tt10313748/) From 87bb6ff2ca9085b577c2ecfa2eb6c02f7fb32b7e Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:04:49 -0500 Subject: [PATCH 021/195] spelling: programmatically Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/_includes/bugtracker-previous.md | 2 +- docs/_includes/news/20231212.md | 4 ++-- docs/_includes/news/20231225.md | 2 +- docs/rss.xml | 6 +++--- 4 files changed, 7 insertions(+), 7 deletions(-) diff --git a/docs/_includes/bugtracker-previous.md b/docs/_includes/bugtracker-previous.md index 6016c4bb96..fff2de5839 100644 --- a/docs/_includes/bugtracker-previous.md +++ b/docs/_includes/bugtracker-previous.md @@ -12,7 +12,7 @@ - [Internal Stabilisation issues and resulting crashes (January 17, 2024)](https://github.com/CommandPost/FCPCafe/issues/326) - [Missing smooth position keyframes in FCPXML (January 8, 2024)](https://github.com/CommandPost/FCPCafe/issues/321) - [File Storage Issue when Transferring Projects between Libraries (January 3, 2024)](https://github.com/CommandPost/FCPCafe/issues/318) -- [Can't collapse or uncollapse Parameter SubGroup's programatically (December 29, 2023)](https://github.com/CommandPost/FCPCafe/issues/315) +- [Can't collapse or uncollapse Parameter SubGroup's programmatically (December 29, 2023)](https://github.com/CommandPost/FCPCafe/issues/315) - [Crash when creating a Compound Clip from two or more Secondary Storylines (December 29, 2023)](https://github.com/CommandPost/FCPCafe/issues/311) - [Incorrectly shows "Missing Plugin" Red Error Message when Media if Offline (December 22, 2023)](https://github.com/CommandPost/FCPCafe/issues/310) - [FxPlug Parameter with an parameterID of 300 incorrectly shows a slider (December 19, 2023)](https://github.com/CommandPost/FCPCafe/issues/309) diff --git a/docs/_includes/news/20231212.md b/docs/_includes/news/20231212.md index 36c61ce6fa..faaaa26298 100644 --- a/docs/_includes/news/20231212.md +++ b/docs/_includes/news/20231212.md @@ -384,7 +384,7 @@ For example: - [Observe Changes in the Final Cut Pro Timeline](https://developer.apple.com/documentation/professional_video_applications/workflow_extensions/interacting_with_the_final_cut_pro_timeline#3530647) - [Move the Playhead Position](https://developer.apple.com/documentation/professional_video_applications/workflow_extensions/interacting_with_the_final_cut_pro_timeline#3530640) -We use this API to allow CommandPost to programatically move the playhead via the CommandPost Workflow Extension: +We use this API to allow CommandPost to programmatically move the playhead via the CommandPost Workflow Extension:  @@ -500,7 +500,7 @@ In terms of bringing [FCPX AutoDuck](https://ulti.media/fcpxautoduck/) to a Work One potential workaround could be to create a Custom Share Destination, allowing you to export AIFFs of dialogue, music and effects separately, and then the Workflow Extension uses these mix downs for the processing, and then applies the audio adjustments to a Compound Clip of all the audio clips in that role. -Because you can create a **Custom Share Destination** that can export roles as seperate audio files, the user would just need to export to a single Share Destination, then at the end of the export/render, you could programatically send these files to the Workflow Extension for processing. Once processing is complete, the user could drag a new project from the Workflow Extension to their Final Cut Pro Browser, which would have Compound Clips of the individual audio roles, and levels/effects applied to those compound clips. +Because you can create a **Custom Share Destination** that can export roles as seperate audio files, the user would just need to export to a single Share Destination, then at the end of the export/render, you could programmatically send these files to the Workflow Extension for processing. Once processing is complete, the user could drag a new project from the Workflow Extension to their Final Cut Pro Browser, which would have Compound Clips of the individual audio roles, and levels/effects applied to those compound clips. It's slightly complex - because you need to communicate between the Custom Share Destination and the Workflow Extension, but certainly achievable. diff --git a/docs/_includes/news/20231225.md b/docs/_includes/news/20231225.md index 66b8ef53c2..5bd5d03542 100644 --- a/docs/_includes/news/20231225.md +++ b/docs/_includes/news/20231225.md @@ -2,7 +2,7 @@ The **Metaburner Pro** beta period continues the excitement with new awesome new features in each TestFlight release. -Beta 14 introduced Lua scripting - allowing you to programatically generate whatever text you want! +Beta 14 introduced Lua scripting - allowing you to programmatically generate whatever text you want! It's still very much a work-in-progress, with the aim to release on the Mac App Store by end of January. diff --git a/docs/rss.xml b/docs/rss.xml index 52c7c2a9ac..bd1177ae18 100644 --- a/docs/rss.xml +++ b/docs/rss.xml @@ -3727,7 +3727,7 @@ hs.dialog.blockAlert("Tag Copier Complete!", "Tags were applied tWe use this API to allow CommandPost to programatically move the playhead via the CommandPost Workflow Extension:
+We use this API to allow CommandPost to programmatically move the playhead via the CommandPost Workflow Extension:
This Workflow Extension is super simple - it's just in Objective-C, and uses web-sockets to communicate back and forth between the Workflow Extension and CommandPost.
You can check out the source code on GitHub here.
@@ -3785,7 +3785,7 @@ hs.dialog.blockAlert("Tag Copier Complete!", "Tags were applied tI totally think that Transcriber and BeatMark Pro could easily be ported to a Workflow Extension and improved to make it simpler and easier for Final Cut Pro editors.
In terms of bringing FCPX AutoDuck to a Workflow Extension, that's definitely possible too, but as Alex explains, you'd basically need to recreate Final Cut Pro's entire audio pipeline to mimic what Final Cut Pro does in FCPX AutoDuck.
One potential workaround could be to create a Custom Share Destination, allowing you to export AIFFs of dialogue, music and effects separately, and then the Workflow Extension uses these mix downs for the processing, and then applies the audio adjustments to a Compound Clip of all the audio clips in that role.
-Because you can create a Custom Share Destination that can export roles as seperate audio files, the user would just need to export to a single Share Destination, then at the end of the export/render, you could programatically send these files to the Workflow Extension for processing. Once processing is complete, the user could drag a new project from the Workflow Extension to their Final Cut Pro Browser, which would have Compound Clips of the individual audio roles, and levels/effects applied to those compound clips.
+Because you can create a Custom Share Destination that can export roles as seperate audio files, the user would just need to export to a single Share Destination, then at the end of the export/render, you could programmatically send these files to the Workflow Extension for processing. Once processing is complete, the user could drag a new project from the Workflow Extension to their Final Cut Pro Browser, which would have Compound Clips of the individual audio roles, and levels/effects applied to those compound clips.
It's slightly complex - because you need to communicate between the Custom Share Destination and the Workflow Extension, but certainly achievable.
But I totally agree with Alex in that CMTime is really hard and FCPXML can get insanely confusing.
@@ -4067,7 +4067,7 @@ These creators are always lending a hand in the Final Cut Pro facebook groups, sBeta 14 introduced Lua scripting - allowing you to programatically generate whatever text you want!
+Beta 14 introduced Lua scripting - allowing you to programmatically generate whatever text you want!
It's still very much a work-in-progress, with the aim to release on the Mac App Store by end of January.
You can learn more and join the TestFlight beta here.
Although in the end we didn’t end up using any of the sync audio – we recorded audio separately to a Sound Devices 744T, which was synced to a Smart Slate. Originally we had planned to sync the camera to the 744T as well, but for some reason we couldn’t get it to work on the first day of shooting, so we gave up. I believe the problem has since been fixed with one of the RED ONE Firmware Updates. We only had one microphone on set – a Sennheiser 416 on a boom. We basically just recorded sound to use as a guide track for when it came to adding sound effects later on.
At the end of each shooting day we dumped the RED-DRIVE and the 744T to two seperate 1TB SATAII drives. For the duration of the shoot we managed to borrow a brand new MacPro Tower from Julian at Eidolon Creative and used this machine to do all the dumping as well as the transcoding. We put the two 1TB drives directly into the MacPro. We ended up with 508.34GB of camera footage, and a couple of GB of audio. We ended up purchasing two additional 500GB SATAII drives to make another backup of all of the R3D files – which we then stored at two separate locations away from our master edit suite, just in case. We called the drives Pinky (Master Edit), Bluey (Backup of Master Edit), Tumbles (R3D Master) and Splash (backup of R3D Master), because that’s what the names of the Sakooz creatures are called. Anyway… Now normally, on a “proper” production, you would have RAIDs and RAID 5 protection, etc. But unfortunately, we simply didn’t have the money for that, so we just had to make do with what we had. We had to manually copy and paste the files for backup purposes – we basically did this at the end of each day. We also kept a copy of the Final Cut Pro project on two USB thumbdrives just in case. Just for laughs, here’s a photo of some of the drives from our rather odd-ball collection. The top right one is Pinky. We ended up taking the covers off the enclosures as we found they got too hot when in use all day and night long.
After principle photography was wrapped we set the MacPro to work trancoding the R3D files using REDrushes (a free application which can be downloaded from the RED site). We were transcoding the R3D files to Apple ProRes 422 HQ files at 1920×1080. We were using the full debayer quality, and REDSpace for both the Colour & Gamma spaces. This took a HUGE amount of time (almost two weeks of none stop processing), but at the end of the day we ended up with some terrific Quicktime files that we could throw into Final Cut Pro and start editing, plus we could also send these clips to the visual effects kids so that they could start playing. We did run into one slight problem after we THOUGHT that everything was done. On inspection of the transcoded files, we realised that all the Quicktimes for Day Two of shooting were EXACTLY the same as Day Four. I’m still not sure whether that was human error or REDrushes being annoying – but either way we had to re-transcode all of the day four footage. Unfortunately at this stage we had to give back the MacPro, so we had to do all of this on a stock standard first generation MacBook. It wasn’t quite as fast as the MacPro, but it got the job done. Eventually.
+After principle photography was wrapped we set the MacPro to work trancoding the R3D files using REDrushes (a free application which can be downloaded from the RED site). We were transcoding the R3D files to Apple ProRes 422 HQ files at 1920×1080. We were using the full debayer quality, and REDSpace for both the Colour & Gamma spaces. This took a HUGE amount of time (almost two weeks of none stop processing), but at the end of the day we ended up with some terrific QuickTime files that we could throw into Final Cut Pro and start editing, plus we could also send these clips to the visual effects kids so that they could start playing. We did run into one slight problem after we THOUGHT that everything was done. On inspection of the transcoded files, we realised that all the QuickTimes for Day Two of shooting were EXACTLY the same as Day Four. I’m still not sure whether that was human error or REDrushes being annoying – but either way we had to re-transcode all of the day four footage. Unfortunately at this stage we had to give back the MacPro, so we had to do all of this on a stock standard first generation MacBook. It wasn’t quite as fast as the MacPro, but it got the job done. Eventually.
Offlining using such high quality media may seem a little silly – I mean, really, we could have done a quarter res transcode to DV, and save a huge amount of time and disk space. Also, considering we were doing the offline on a bunch of eMac’s over Firewire 400 drives (that’s right… really old school eMac’s!), it would have also made the whole editing process a lot more fluid. However! By editing at such a great quality, it meant that whenever we did test screenings or had to show potential investors or sponsors, we could easily burn off a high-quality 1920×1080 Quicktime Movie that looks simply gorgeous even before grading. Here is a photo of our main editing machine.
+Offlining using such high quality media may seem a little silly – I mean, really, we could have done a quarter res transcode to DV, and save a huge amount of time and disk space. Also, considering we were doing the offline on a bunch of eMac’s over Firewire 400 drives (that’s right… really old school eMac’s!), it would have also made the whole editing process a lot more fluid. However! By editing at such a great quality, it meant that whenever we did test screenings or had to show potential investors or sponsors, we could easily burn off a high-quality 1920×1080 QuickTime Movie that looks simply gorgeous even before grading. Here is a photo of our main editing machine.
...and the other babies:
I’m not even sure how this is possible, but we were able to play one video track of 1920×1080 ProRes on the eMac over Firewire 400 in realtime without any issues. And so, we basically edited away for several weeks in Final Cut Pro 6. We ended up doing a very rough grade using the 3-way Colour Corrector just so that when we showed other people to get opinions, they were looking at something that looked half decent. We tried a huge amount of different things in terms of the edit – we used a lot of different music as guide tracks. We even copied the audio from other big Hollywood trailers (such as the Dark Knight) and cut our footage to their soundtrack just to see what we could come up with. It was a very painful, long, but fun and creative process that I certainly won’t forget any time soon!
-Whilst I was trying to lock down the picture, others were playing around with the visual effects. Initially, tests and trials were done by the various VFX artists using the ProRes Quicktime files. However, once we had locked down the trailer in terms of the edit, we used REDCINE to export out 4K TIFF sequences and 2K/1K DPX sequences for the visual effects people to work on. Ashley Smart (who did the effects for the Shed Explosion Sequence) was using 4K TIFF Sequences in After Effects on a laptop (which is quite incredible). James Otter used 1K DPX sequences in Nuke, and After Effects to achieve a lot of the effects shots, on a PC. And I used a good old MacBook, running After Effects and Shake to do the remaining shots. I ended up using After Effect’s own tracker for most of the tracking work, although I did use PFTrack for one of the shots. I also used Syntheyes on an old Dell Laptop for a small section of another shot. For Pinky eyes, I ended up brining in 4K DPX sequences into After Effects – which was fairly interesting on the poor old MacBook! But it worked, and the shots came out OK considering…
+Whilst I was trying to lock down the picture, others were playing around with the visual effects. Initially, tests and trials were done by the various VFX artists using the ProRes QuickTime files. However, once we had locked down the trailer in terms of the edit, we used REDCINE to export out 4K TIFF sequences and 2K/1K DPX sequences for the visual effects people to work on. Ashley Smart (who did the effects for the Shed Explosion Sequence) was using 4K TIFF Sequences in After Effects on a laptop (which is quite incredible). James Otter used 1K DPX sequences in Nuke, and After Effects to achieve a lot of the effects shots, on a PC. And I used a good old MacBook, running After Effects and Shake to do the remaining shots. I ended up using After Effect’s own tracker for most of the tracking work, although I did use PFTrack for one of the shots. I also used Syntheyes on an old Dell Laptop for a small section of another shot. For Pinky eyes, I ended up brining in 4K DPX sequences into After Effects – which was fairly interesting on the poor old MacBook! But it worked, and the shots came out OK considering…
We ended up with 16 visual effects in total (including graphics). Once a visual effect shot was completed it was exported as a 1920×1080 DPX sequence ready for grading. For your viewing pleasure, here are some photos of After Effects genius James Otter, working away! I have no idea what the cardboard cartons are for, or where he got them. Needless to say, these photos were taken at some ridiculous early hour of the morning, after James and I had been stuck at uni for AT LEAST forty hours STRAIGHT!
By printing off the EDL we now had a hard copy of the trailer’s edit – which is always a good thing! But more importantly, it allowed us to easily track and manage everything. Because we couldn’t afford to purchase software such as Crimson Workflow, and we didn’t have time to write up our own proprietary software, we ended up doing a lot of things manually. For instance, we ended up going down the EDL line by line, and exporting a 1920×1080 DPX sequence from REDCINE. We made minor adjustments in REDCINE to get the most clean image and exported away. We put each shot in a different folder based on the EDL number assigned to the shot. For example, the first shot in the trailer was called 001_000001.DPX. This kept things nice and simple. Once every shot was exported out of REDCINE as DPX sequence (which took a night), it was ready for grading!
Originally we had planned to do the grade at one of the major post houses in Melbourne, but due to a lack of time and money, we ended up getting a very talented film school graduate called Nick Reid to do the grade in Apple’s Color. Getting the DPX files into Color proved to be a bit more tricky than anticipated! We ended up purchasing yet another 1TB SATAII drive (called Gizmo) for the colour grade.
-What we ended up doing was wrapping all the DPX files as Quicktimes manually using AJA’s free DPXtoQTTranslator utility. Once all of the DPX’s were wrapped (including all the visual effects), we manually re-created the Final Cut Pro timeline based on the printed EDL using the newly wrapped Quicktime files. We then exported out a XML file from Final Cut Pro. This XML file was brought into Color and grading could commence. Nick took a couple of days to do the grade, and once completed, he handed back Gizmo, ready for the final stages!
-With the grade now completed, we exported out AJA 10-bit Uncompressed RGB Quicktimes. We then used the AJA QTtoDPXTranslator to unwrap the Quicktime Files back to DPX files. As the AJA tool simply “wraps” the files – it doesn’t transcode them or anything like that, this process is really fast, although you do have to do it manually. For me, that means I have to do everything 69 times which isn’t too bad. The only annoying thing is that you have to rename all the clips again, as Color names everything sequentially, and we wanted everything named as per the bible (i.e. the EDL).
-Now with a whole heap of beautifully graded DPX sequences, it was time to do the online. I ended up doing this at University on a nice and speedy MacPro in After Effects CS3. I imported all of the DPX sequences, and then manually put them all in the correct places based on the printed EDL. Once that was complete I simply rendered out a Quicktime File using the Animation Codec. Here is a photo taken at about four o’clock in the morning after I’d been at uni for about forty hours STRAIGHT working on Sakooz. You can see the insanity in my eyes.
+What we ended up doing was wrapping all the DPX files as QuickTimes manually using AJA’s free DPXtoQTTranslator utility. Once all of the DPX’s were wrapped (including all the visual effects), we manually re-created the Final Cut Pro timeline based on the printed EDL using the newly wrapped QuickTime files. We then exported out a XML file from Final Cut Pro. This XML file was brought into Color and grading could commence. Nick took a couple of days to do the grade, and once completed, he handed back Gizmo, ready for the final stages!
+With the grade now completed, we exported out AJA 10-bit Uncompressed RGB QuickTimes. We then used the AJA QTtoDPXTranslator to unwrap the QuickTime Files back to DPX files. As the AJA tool simply “wraps” the files – it doesn’t transcode them or anything like that, this process is really fast, although you do have to do it manually. For me, that means I have to do everything 69 times which isn’t too bad. The only annoying thing is that you have to rename all the clips again, as Color names everything sequentially, and we wanted everything named as per the bible (i.e. the EDL).
+Now with a whole heap of beautifully graded DPX sequences, it was time to do the online. I ended up doing this at University on a nice and speedy MacPro in After Effects CS3. I imported all of the DPX sequences, and then manually put them all in the correct places based on the printed EDL. Once that was complete I simply rendered out a QuickTime File using the Animation Codec. Here is a photo taken at about four o’clock in the morning after I’d been at uni for about forty hours STRAIGHT working on Sakooz. You can see the insanity in my eyes.
The only thing left to do was sound! Once Frank (our composer) finished, he simply gave us a 24-Bit 48KHz Broadcast Wave File, which we threw into Final Cut Pro. After a bit of tweaking – adjusting the sound effect levels to suit the new score, the sound was ready to rock and roll! Originally we had planned to do a quite complex 5.1 mix just for fun – but at the end of the day, no one was ever going to listen to it in surround sound anyway, so we decided to skip on that idea (for now at least). Once the sound was done, we exported an AIFF and then merged the Animation Codec video and AIFF together to create the Final Quicktime Master!
-From that Quicktime master we than could do any DVD, web, Blu-ray, etc. encodes using Compressor.
+The only thing left to do was sound! Once Frank (our composer) finished, he simply gave us a 24-Bit 48KHz Broadcast Wave File, which we threw into Final Cut Pro. After a bit of tweaking – adjusting the sound effect levels to suit the new score, the sound was ready to rock and roll! Originally we had planned to do a quite complex 5.1 mix just for fun – but at the end of the day, no one was ever going to listen to it in surround sound anyway, so we decided to skip on that idea (for now at least). Once the sound was done, we exported an AIFF and then merged the Animation Codec video and AIFF together to create the Final QuickTime Master!
+From that QuickTime master we than could do any DVD, web, Blu-ray, etc. encodes using Compressor.
And that is the workflow we decided to use for Sakooz! At the moment we are just archiving all the project files to DVD, and keeping all the media on the SATAII drives. At some stage we will eventually put everything to LTO drives as a final backup – but we don’t have the money at the moment.
This wasn’t exactly the quickest workflow in the world (we did a lot of things manually that could have been easily avoided by using software such as Crimson Workflow, plus we used extremely old Mac’s and PC’s in a lot of cases), but a lot of it came down to money vs time. In some cases money won out, but more often than not, we decided to save money and do things the manual way. To be perfectly honest, it actually felt really nice to have a printed out EDL on which to direct everything! It felt much the same as the good old days with film!
If you have any questions about the workflow or how we did anything, feel free to post a comment. At some stage in the future we also hope to post some more detailed information on the various visual effects that featured in the trailer, so stay tuned!
From 823a578c527c24251f82e816b24ea51b6b9e027f Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:02:49 -0500 Subject: [PATCH 025/195] spelling: readable Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/developers/applicationbundle.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/developers/applicationbundle.md b/docs/developers/applicationbundle.md index 19f521d58b..668d2b66e7 100644 --- a/docs/developers/applicationbundle.md +++ b/docs/developers/applicationbundle.md @@ -219,7 +219,7 @@ It contains a bunch of `.car` (CoreUI Archives) files, which can be extracted us - **NOXViewer.car** UI graphics for Final Cut Pro's Viewer? - **WideSliderIconAppearance.car:** Not sure what these graphics are for? -It contains a human-readible plist file called `Container.moduleLayout`. +It contains a human-readable plist file called `Container.moduleLayout`. It contains a bunch of other interesting plain-text plist files: From 7ffa8cae925c6bb9796dce24cf0001364b47ba2c Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:02:57 -0500 Subject: [PATCH 026/195] spelling: received Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/_includes/tools/reference-x.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/_includes/tools/reference-x.md b/docs/_includes/tools/reference-x.md index 11f39ff14a..830708cb95 100644 --- a/docs/_includes/tools/reference-x.md +++ b/docs/_includes/tools/reference-x.md @@ -2,6 +2,6 @@  -Reference X is designed for FCPXML file. Listing source files from FCPXML, edit and export to new FCPXML. FCPXML is exported from Apple Final Cut Pro, Blackmagic DaVinci Resolve, Autodesk Flame, Luma touch Luma Fusion. FCPXML is simple xml formate for send and recived Final Cut Pro editing information designed by Apple. +Reference X is designed for FCPXML file. Listing source files from FCPXML, edit and export to new FCPXML. FCPXML is exported from Apple Final Cut Pro, Blackmagic DaVinci Resolve, Autodesk Flame, Luma touch Luma Fusion. FCPXML is simple xml formate for send and received Final Cut Pro editing information designed by Apple. [!button text="Visit Website" target="blank" variant="info"](http://www.tokyocode.io/index.html) From 3a25c823cc3d47f41b37e97117ba28d50204c899 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:03:17 -0500 Subject: [PATCH 027/195] spelling: reference Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/_includes/tools/reference-x.md | 2 +- .../{ss-refernece-x.png => ss-reference-x.png} | Bin 2 files changed, 1 insertion(+), 1 deletion(-) rename docs/static/{ss-refernece-x.png => ss-reference-x.png} (100%) diff --git a/docs/_includes/tools/reference-x.md b/docs/_includes/tools/reference-x.md index 830708cb95..d63d0eff7f 100644 --- a/docs/_includes/tools/reference-x.md +++ b/docs/_includes/tools/reference-x.md @@ -1,6 +1,6 @@ ### Reference X - + Reference X is designed for FCPXML file. Listing source files from FCPXML, edit and export to new FCPXML. FCPXML is exported from Apple Final Cut Pro, Blackmagic DaVinci Resolve, Autodesk Flame, Luma touch Luma Fusion. FCPXML is simple xml formate for send and received Final Cut Pro editing information designed by Apple. diff --git a/docs/static/ss-refernece-x.png b/docs/static/ss-reference-x.png similarity index 100% rename from docs/static/ss-refernece-x.png rename to docs/static/ss-reference-x.png From 57921bd84b791f9bcb1bc6f2d04e5a68cece845c Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Mon, 11 Nov 2024 09:57:40 -0500 Subject: [PATCH 028/195] spelling: register Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/fcp-creative-summit.md | 4 ++-- 1 file changed, 2 insertions(+), 2 deletions(-) diff --git a/docs/fcp-creative-summit.md b/docs/fcp-creative-summit.md index 9c44da7699..c2ab71ffe6 100644 --- a/docs/fcp-creative-summit.md +++ b/docs/fcp-creative-summit.md @@ -15,9 +15,9 @@ The cost is **USD$599** (minus the 15% discount above), which includes: - 🤝 Networking Opportunities -You can register [here](http://www.eventbrite.com/e/965178022447/?discount=FCPCAFE). +You can [register](http://www.eventbrite.com/e/965178022447/?discount=FCPCAFE). -You can view the program [here](https://fcpcreativesummits.com/program/). +You can view the [program](https://fcpcreativesummits.com/program/). --- From 9a914b775c25d351f6dc681ddf3e2352210f67c9 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:03:52 -0500 Subject: [PATCH 029/195] spelling: resetting Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/_includes/news/20230921.md | 2 +- docs/releasenotes.md | 2 +- docs/rss.xml | 2 +- 3 files changed, 3 insertions(+), 3 deletions(-) diff --git a/docs/_includes/news/20230921.md b/docs/_includes/news/20230921.md index 2768666108..fcadc4f93a 100644 --- a/docs/_includes/news/20230921.md +++ b/docs/_includes/news/20230921.md @@ -82,7 +82,7 @@ If you run into any issues, make sure you report them in our [Bug Tracker](/bugt - Fixes an issue with the fader position not being reset when a volume adjustment was undone. - Fixes an issue that caused the Done button to not appear in Live Drawing when using Larger Text and Display Zoom. - Fixes an issue that caused browser clip name changes to not be saved unless the Done button was tapped. -- Improves reliability when reseting manual focus points for videos shot in Cinematic mode. +- Improves reliability when resetting manual focus points for videos shot in Cinematic mode. - Improves reliability when importing iMovie for iOS projects. - Includes stability and performance improvements. diff --git a/docs/releasenotes.md b/docs/releasenotes.md index d05652c590..fbf20b9f83 100644 --- a/docs/releasenotes.md +++ b/docs/releasenotes.md @@ -232,7 +232,7 @@ The below information was originally consolidated by [finalcutgod](https://twitt - Fixes an issue with the fader position not being reset when a volume adjustment was undone. - Fixes an issue that caused the Done button to not appear in Live Drawing when using Larger Text and Display Zoom. - Fixes an issue that caused browser clip name changes to not be saved unless the Done button was tapped. -- Improves reliability when reseting manual focus points for videos shot in Cinematic mode. +- Improves reliability when resetting manual focus points for videos shot in Cinematic mode. - Improves reliability when importing iMovie for iOS projects. - Includes stability and performance improvements. diff --git a/docs/rss.xml b/docs/rss.xml index 00ab84ebf2..0603a71934 100644 --- a/docs/rss.xml +++ b/docs/rss.xml @@ -1761,7 +1761,7 @@ Sign up to be the first to know 👉🏻I totally think that Transcriber and BeatMark Pro could easily be ported to a Workflow Extension and improved to make it simpler and easier for Final Cut Pro editors.
In terms of bringing FCPX AutoDuck to a Workflow Extension, that's definitely possible too, but as Alex explains, you'd basically need to recreate Final Cut Pro's entire audio pipeline to mimic what Final Cut Pro does in FCPX AutoDuck.
One potential workaround could be to create a Custom Share Destination, allowing you to export AIFFs of dialogue, music and effects separately, and then the Workflow Extension uses these mix downs for the processing, and then applies the audio adjustments to a Compound Clip of all the audio clips in that role.
-Because you can create a Custom Share Destination that can export roles as seperate audio files, the user would just need to export to a single Share Destination, then at the end of the export/render, you could programmatically send these files to the Workflow Extension for processing. Once processing is complete, the user could drag a new project from the Workflow Extension to their Final Cut Pro Browser, which would have Compound Clips of the individual audio roles, and levels/effects applied to those compound clips.
+Because you can create a Custom Share Destination that can export roles as separate audio files, the user would just need to export to a single Share Destination, then at the end of the export/render, you could programmatically send these files to the Workflow Extension for processing. Once processing is complete, the user could drag a new project from the Workflow Extension to their Final Cut Pro Browser, which would have Compound Clips of the individual audio roles, and levels/effects applied to those compound clips.
It's slightly complex - because you need to communicate between the Custom Share Destination and the Workflow Extension, but certainly achievable.
But I totally agree with Alex in that CMTime is really hard and FCPXML can get insanely confusing.
@@ -4139,7 +4139,7 @@ Requirements: OS13+ or Windows 10.In terms of Principle Photography, everything pretty much ran exactly the same as if we were shooting on film. We lit it exactly the same way, and Ben (our DOP) still had his light meter by his side. Because we needed to shoot so much very quickly (time wasn’t on our side), I decided against setting up a “video village” and even a directors monitor – preferring to be there in the action, behind Ben, peaking over his shoulder to watch the on-camera LCD. This worked really well.
Although the plan was always to shoot to card for safety reasons (we’ve all got disaster stories to tell about Firestore’s dying and hard drives being dropped!) – we decided to gamble and record straight to the RED-DRIVE (a special drive designed for the camera which can store 320GB in a RAID 0 configuration). Not only that – but we decided to leave the dumping to the end of the day. This was a HUGE risk, because if the drive died at the end of the day, we’d potentially loose a whole days worth of shooting. However, we didn’t have the crew available to have a dedicated “data technician”, nor did we have the hardware to dump the cards on a regular basis. This may seem really silly (I mean seriously – all you need is a Mac laptop and a card reader!), but we had neither of those things at the time, and it was just easier to use what we had available. Luckily – nothing went wrong, and the RED-DRIVE was faultless – it never dropped a single frame! However, to anyone else planning to shoot on RED – I strongly recommend you do the complete opposite to what we did! Record to CF card and dump as soon as the card is full.
Although in the end we didn’t end up using any of the sync audio – we recorded audio separately to a Sound Devices 744T, which was synced to a Smart Slate. Originally we had planned to sync the camera to the 744T as well, but for some reason we couldn’t get it to work on the first day of shooting, so we gave up. I believe the problem has since been fixed with one of the RED ONE Firmware Updates. We only had one microphone on set – a Sennheiser 416 on a boom. We basically just recorded sound to use as a guide track for when it came to adding sound effects later on.
-At the end of each shooting day we dumped the RED-DRIVE and the 744T to two seperate 1TB SATAII drives. For the duration of the shoot we managed to borrow a brand new MacPro Tower from Julian at Eidolon Creative and used this machine to do all the dumping as well as the transcoding. We put the two 1TB drives directly into the MacPro. We ended up with 508.34GB of camera footage, and a couple of GB of audio. We ended up purchasing two additional 500GB SATAII drives to make another backup of all of the R3D files – which we then stored at two separate locations away from our master edit suite, just in case. We called the drives Pinky (Master Edit), Bluey (Backup of Master Edit), Tumbles (R3D Master) and Splash (backup of R3D Master), because that’s what the names of the Sakooz creatures are called. Anyway… Now normally, on a “proper” production, you would have RAIDs and RAID 5 protection, etc. But unfortunately, we simply didn’t have the money for that, so we just had to make do with what we had. We had to manually copy and paste the files for backup purposes – we basically did this at the end of each day. We also kept a copy of the Final Cut Pro project on two USB thumbdrives just in case. Just for laughs, here’s a photo of some of the drives from our rather odd-ball collection. The top right one is Pinky. We ended up taking the covers off the enclosures as we found they got too hot when in use all day and night long.
+At the end of each shooting day we dumped the RED-DRIVE and the 744T to two separate 1TB SATAII drives. For the duration of the shoot we managed to borrow a brand new MacPro Tower from Julian at Eidolon Creative and used this machine to do all the dumping as well as the transcoding. We put the two 1TB drives directly into the MacPro. We ended up with 508.34GB of camera footage, and a couple of GB of audio. We ended up purchasing two additional 500GB SATAII drives to make another backup of all of the R3D files – which we then stored at two separate locations away from our master edit suite, just in case. We called the drives Pinky (Master Edit), Bluey (Backup of Master Edit), Tumbles (R3D Master) and Splash (backup of R3D Master), because that’s what the names of the Sakooz creatures are called. Anyway… Now normally, on a “proper” production, you would have RAIDs and RAID 5 protection, etc. But unfortunately, we simply didn’t have the money for that, so we just had to make do with what we had. We had to manually copy and paste the files for backup purposes – we basically did this at the end of each day. We also kept a copy of the Final Cut Pro project on two USB thumbdrives just in case. Just for laughs, here’s a photo of some of the drives from our rather odd-ball collection. The top right one is Pinky. We ended up taking the covers off the enclosures as we found they got too hot when in use all day and night long.
After principle photography was wrapped we set the MacPro to work trancoding the R3D files using REDrushes (a free application which can be downloaded from the RED site). We were transcoding the R3D files to Apple ProRes 422 HQ files at 1920×1080. We were using the full debayer quality, and REDSpace for both the Colour & Gamma spaces. This took a HUGE amount of time (almost two weeks of none stop processing), but at the end of the day we ended up with some terrific QuickTime files that we could throw into Final Cut Pro and start editing, plus we could also send these clips to the visual effects kids so that they could start playing. We did run into one slight problem after we THOUGHT that everything was done. On inspection of the transcoded files, we realised that all the QuickTimes for Day Two of shooting were EXACTLY the same as Day Four. I’m still not sure whether that was human error or REDrushes being annoying – but either way we had to re-transcode all of the day four footage. Unfortunately at this stage we had to give back the MacPro, so we had to do all of this on a stock standard first generation MacBook. It wasn’t quite as fast as the MacPro, but it got the job done. Eventually.
You can learn more here.
@@ -4928,7 +4928,7 @@ Founder, evrApp.cloud, an innovative software project dedicated to improving theYou can read more about this in great detail on the Hedge blog.
If you already own Final Cut Library Manager, the application will continue to work indefinitely, but it will no longer be updated or supported.
Final Cut Library Manager customers will have already received a discounted upgrade for Arctic in their email inbox. Please contact Hedge if you didn't get it.
-Arctic and Final Cut Library Manager are completely seperate applications - each with their own unique licensing and updating systems - which means you can still run them side-by-side, or run Final Cut Pro Library Manager on your old machine, and Arctic on your new machine, etc.
+Arctic and Final Cut Library Manager are completely separate applications - each with their own unique licensing and updating systems - which means you can still run them side-by-side, or run Final Cut Pro Library Manager on your old machine, and Arctic on your new machine, etc.
You can learn more, and download a free 10-day trial on the Hedge website.
]]>You can download the latest version on the Mac App Store here.
From ff1c27f5bf86510069ff634b4e964e295eaac647 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:48:04 -0500 Subject: [PATCH 033/195] spelling: the Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/_includes/news/20230602.md | 2 +- docs/rss.xml | 2 +- 2 files changed, 2 insertions(+), 2 deletions(-) diff --git a/docs/_includes/news/20230602.md b/docs/_includes/news/20230602.md index bf3f894cf1..6591c7928f 100644 --- a/docs/_includes/news/20230602.md +++ b/docs/_includes/news/20230602.md @@ -2,7 +2,7 @@ **Final Cut Pro v1.0.1** for iPad is out now! -The only change according the the release notes is: +The only change according the release notes is: - Fixes an issue where the validation of third-party Audio Unit Extensions prevented Final Cut Pro for iPad from opening. diff --git a/docs/rss.xml b/docs/rss.xml index d741505341..08c39e9866 100644 --- a/docs/rss.xml +++ b/docs/rss.xml @@ -200,7 +200,7 @@The only change according the the release notes is:
+The only change according the release notes is:
Although in the end we didn’t end up using any of the sync audio – we recorded audio separately to a Sound Devices 744T, which was synced to a Smart Slate. Originally we had planned to sync the camera to the 744T as well, but for some reason we couldn’t get it to work on the first day of shooting, so we gave up. I believe the problem has since been fixed with one of the RED ONE Firmware Updates. We only had one microphone on set – a Sennheiser 416 on a boom. We basically just recorded sound to use as a guide track for when it came to adding sound effects later on.
At the end of each shooting day we dumped the RED-DRIVE and the 744T to two separate 1TB SATAII drives. For the duration of the shoot we managed to borrow a brand new MacPro Tower from Julian at Eidolon Creative and used this machine to do all the dumping as well as the transcoding. We put the two 1TB drives directly into the MacPro. We ended up with 508.34GB of camera footage, and a couple of GB of audio. We ended up purchasing two additional 500GB SATAII drives to make another backup of all of the R3D files – which we then stored at two separate locations away from our master edit suite, just in case. We called the drives Pinky (Master Edit), Bluey (Backup of Master Edit), Tumbles (R3D Master) and Splash (backup of R3D Master), because that’s what the names of the Sakooz creatures are called. Anyway… Now normally, on a “proper” production, you would have RAIDs and RAID 5 protection, etc. But unfortunately, we simply didn’t have the money for that, so we just had to make do with what we had. We had to manually copy and paste the files for backup purposes – we basically did this at the end of each day. We also kept a copy of the Final Cut Pro project on two USB thumbdrives just in case. Just for laughs, here’s a photo of some of the drives from our rather odd-ball collection. The top right one is Pinky. We ended up taking the covers off the enclosures as we found they got too hot when in use all day and night long.
After principle photography was wrapped we set the MacPro to work trancoding the R3D files using REDrushes (a free application which can be downloaded from the RED site). We were transcoding the R3D files to Apple ProRes 422 HQ files at 1920×1080. We were using the full debayer quality, and REDSpace for both the Colour & Gamma spaces. This took a HUGE amount of time (almost two weeks of none stop processing), but at the end of the day we ended up with some terrific QuickTime files that we could throw into Final Cut Pro and start editing, plus we could also send these clips to the visual effects kids so that they could start playing. We did run into one slight problem after we THOUGHT that everything was done. On inspection of the transcoded files, we realised that all the QuickTimes for Day Two of shooting were EXACTLY the same as Day Four. I’m still not sure whether that was human error or REDrushes being annoying – but either way we had to re-transcode all of the day four footage. Unfortunately at this stage we had to give back the MacPro, so we had to do all of this on a stock standard first generation MacBook. It wasn’t quite as fast as the MacPro, but it got the job done. Eventually.
+After principle photography was wrapped we set the MacPro to work transcoding the R3D files using REDrushes (a free application which can be downloaded from the RED site). We were transcoding the R3D files to Apple ProRes 422 HQ files at 1920×1080. We were using the full debayer quality, and REDSpace for both the Colour & Gamma spaces. This took a HUGE amount of time (almost two weeks of none stop processing), but at the end of the day we ended up with some terrific QuickTime files that we could throw into Final Cut Pro and start editing, plus we could also send these clips to the visual effects kids so that they could start playing. We did run into one slight problem after we THOUGHT that everything was done. On inspection of the transcoded files, we realised that all the QuickTimes for Day Two of shooting were EXACTLY the same as Day Four. I’m still not sure whether that was human error or REDrushes being annoying – but either way we had to re-transcode all of the day four footage. Unfortunately at this stage we had to give back the MacPro, so we had to do all of this on a stock standard first generation MacBook. It wasn’t quite as fast as the MacPro, but it got the job done. Eventually.
Offlining using such high quality media may seem a little silly – I mean, really, we could have done a quarter res transcode to DV, and save a huge amount of time and disk space. Also, considering we were doing the offline on a bunch of eMac’s over Firewire 400 drives (that’s right… really old school eMac’s!), it would have also made the whole editing process a lot more fluid. However! By editing at such a great quality, it meant that whenever we did test screenings or had to show potential investors or sponsors, we could easily burn off a high-quality 1920×1080 QuickTime Movie that looks simply gorgeous even before grading. Here is a photo of our main editing machine.
From 0bc45a253b76b3dc56e81f6985d5a754eb5b5c8a Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Sun, 10 Nov 2024 00:10:12 -0500 Subject: [PATCH 036/195] spelling: usually Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/_includes/latenite/marker-toolbox.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/_includes/latenite/marker-toolbox.md b/docs/_includes/latenite/marker-toolbox.md index 7c9ce2c839..ebbe0a5e01 100644 --- a/docs/_includes/latenite/marker-toolbox.md +++ b/docs/_includes/latenite/marker-toolbox.md @@ -46,7 +46,7 @@ _Robert heinlein's son – May 31, 2023 (Apple App Store Review)_ {{ include "five-stars" }} Amazing simple -I wanted an app like this since I started editing. Now for the first time I can process the comments I get via an e-mail on an edit from the start and not, as I usualy do, begin at the end of the edit and work backwards. +I wanted an app like this since I started editing. Now for the first time I can process the comments I get via an e-mail on an edit from the start and not, as I usually do, begin at the end of the edit and work backwards. _Blazy – Apr 6, 2023 (Apple App Store Review)_ ::: \ No newline at end of file From 3dd58926839db7d0bf7a36134cc44fb79687101f Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Mon, 11 Nov 2024 11:34:33 -0500 Subject: [PATCH 037/195] spelling: you are not Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/case-studies/the-shadow.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/case-studies/the-shadow.md b/docs/case-studies/the-shadow.md index a71d645a36..a5f57a8b96 100644 --- a/docs/case-studies/the-shadow.md +++ b/docs/case-studies/the-shadow.md @@ -14,7 +14,7 @@ This television series is an adaptation of the novel by **Melanie Raabe**.  -You can watch the show [here](https://www.zdf.de/serien/der-schatten) (eventually geofenced, if your not in Germany). +You can watch the show [here](https://www.zdf.de/serien/der-schatten) (eventually geofenced, if you are not in Germany). --- From 6dd7a71b717406279bc2ce76a1da31efbe8eaee2 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Mon, 11 Nov 2024 11:40:03 -0500 Subject: [PATCH 038/195] link: `/docs/static/` folder on github Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/contribute.md | 4 +--- 1 file changed, 1 insertion(+), 3 deletions(-) diff --git a/docs/contribute.md b/docs/contribute.md index 6f45e9329f..d957c56da1 100644 --- a/docs/contribute.md +++ b/docs/contribute.md @@ -217,9 +217,7 @@ You can use [this website](https://youtube-thumbnail-grabber.com) for download Y ### Images -All images should be stored within the `/docs/static/` folder on GitHub. - -You can find it [here](https://github.com/CommandPost/FCPCafe/tree/main/docs/static). +All images should be stored within the [`/docs/static/` folder on GitHub](https://github.com/CommandPost/FCPCafe/tree/main/docs/static). --- From 35babed5af68f196ac18af3aa87acd85b112c185 Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Mon, 11 Nov 2024 11:46:37 -0500 Subject: [PATCH 039/195] link: `fcpxml` `dtd` files Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/developers/fcpxml.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/developers/fcpxml.md b/docs/developers/fcpxml.md index efddde3f4c..cc0e7a1906 100644 --- a/docs/developers/fcpxml.md +++ b/docs/developers/fcpxml.md @@ -80,7 +80,7 @@ macOS has a built in XML lint tool - allowing you to validate a `FCPXML` documen A DTD (Document Type Definition) file is used in XML to define the structure and the legal elements and attributes of an XML document. It's a set of markup declarations that provide a rulebook for a specific type of XML document, describing what the document contains and how those elements and attributes are organised. !!! -You can download all the `FCPXML` `DTD` files [here](https://github.com/CommandPost/CommandPost/tree/develop/src/extensions/cp/apple/fcpxml/dtd). +You can download all the [`FCPXML` `DTD` files](https://github.com/CommandPost/CommandPost/tree/develop/src/extensions/cp/apple/fcpxml/dtd). You can then use this Terminal Command to validate things: From c7db8f8428a95effbdffb8580f8559b74f5d922e Mon Sep 17 00:00:00 2001 From: Josh Soref <2119212+jsoref@users.noreply.github.com> Date: Mon, 11 Nov 2024 11:18:37 -0500 Subject: [PATCH 040/195] link: a new home for final cut library manager Signed-off-by: Josh Soref <2119212+jsoref@users.noreply.github.com> --- docs/_includes/tools/final-cut-pro-library-manager.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/_includes/tools/final-cut-pro-library-manager.md b/docs/_includes/tools/final-cut-pro-library-manager.md index 2d0664b699..a08c53edd4 100644 --- a/docs/_includes/tools/final-cut-pro-library-manager.md +++ b/docs/_includes/tools/final-cut-pro-library-manager.md @@ -5,7 +5,7 @@ !!! On 2nd April 2024, Hedge took over development of Final Cut Library Manager, and renamed it **Arctic**.