All posts in Inside Insight

Apple released Final Cut Pro X 10.1 overnight. I’ve had the privilege of working with this version for a while now, and here’s what I’ve found about the new features.

Final Cut Pro X 10.1 is a very significant update with major new features, smartly remodeled features and a new technical underpinning that will make it more performant and fit better into multi-seat facilities. As well as beefed up 4K support, making the best use possible of the dual GPUs in the new Mac Pro, additional language support, improved XML and a long list of other features, 10.1 gains some seriously useful media management and project organizational tools, plus improved editorial functions. 10.1 is for OS X 10.9 Mavericks only.

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The final post in my series rising out of a recent Digital Production BuZZ segment with Larry Jordan and Michael Horton. Larry asked one final, very important question.

Larry Jordan: Because we are charged with delivering our projects on time and on budget, at what point should we resist change, like not being too close to the bleeding edge, and at what point should we embrace change?

At the simplest level, the rule to embracing change is to look for the time when there are more benefits from making the change, than there are negatives for making the change. Inherently, the higher end of the market: the higher end studios, the higher end television shows, are the most conservative. They will change slowly because the downside to making change at this level, is losing your job if it isn’t successful.

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One of the things I want you to get focused on in 2014 is how easy it is to build relationships that turn into JOBS by using social media. How do you build relationships on social media?

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Acclaimed Mexican director Alfonso Cuaron has tackled a lot of different projects — and subject matter — from the beloved children’s book “A Little Princess” (his 1995 American feature film debut) to Dickens’ “Great Expectations,” the raunchy sex comedy Y Tu Mama Tambien, franchise blockbuster Harry Potter and the Prisoner of Azkaban, and the sci-fi drama Children of Men. Along the way he picked up three Oscar nominations and also found time to produce pal Guillermo del Toro’s Pan’s Labyrinth.

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As you probably know, I’m a regular contributor to Larry Jordan’s Digital Production BuZZ talking about a variety of topics from technical to esoteric. Larry, Michael Horton and I recently started a discussion – yet again – on whether or not Final Cut Pro X was “for the pros” but fortunately moved the topic toward managing change. We all felt that the discussion about FCP X was over, since it is being used all across the professional production spectrum, but pondered why it still generates controversy.

The discussion was one of the best we’ve had on the BuZZ, and I felt that each of the questions deserved a little more depth than I could go into with a two minute answer.

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Based in Calcutta, India, filmmaker Riingo has made 11 feature films, all shot on Panasonic cameras. He uses Red Giant Magic Bullet products for color grading and edits in Final Cut Pro X. I talked to him about his filmmaking and his color grading process.

Michele Yamazaki, Toolfarm: Hi Riingo. How did you get started with digital cinema?

Riingo: I’m am a DoP trained at a film school in Thailand and as an editor and a grader. Back in 2006, when no one believed in the Digital format of cinema, I had a producer, Shree Venkatesh Films), who had faith in my vision and put up their money. Together we set the footprints of E/D cinema in India.

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Clint Eastwood, as Walt Kowalski is a grumpy Korean war veteran, filled with prejudice. He can’t get along with his kids, and he certainly doesn’t get along with his Hmong neighbors. And then his young neighbors Thao and Sue, begin to grow on him, changing his perspective, little by little. While there are many times in the movie that Walt should be ashamed of his behavior, in the end, he makes a grand gesture that he can be proud of.

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Keying is part technical skill, part patience, and part sorcery. This series will take you through different areas of keying, not so much to teach you step by step, but to talk about some of the problems you’ll run into and how to fix them.

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This article is for motion graphics, vfx, and 3D artists and also video editors. We’re keeping track of issues you might have with your software and with information on how to fix problems.

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Posting episodic television is a complex process. From on-set color and data management to the creative cut and final color correction, workflows must run smoothly and seamlessly. Editors, colorists and DPs share with Post their unique perspectives on how TV series get from the camera to the viewing platform of choice for today’s audiences.

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