Producing a successful feature film doesn't require a large Hollywood studio behind you, as this story about the making of 'Saturday's Warrior' will show. But as the tools of production are now so inexpensive and accessible, you can get all the quality and methods from a large budget film on something with a lot smaller expenditure.
The Jellyfish and Final Cut Pro X go on the road for a real broadcast job. Cutting edge portable shared storage on a budget, but with all of the performance you need. How did it cope with the strain of continuous records and multiple edit clients? Peter Wiggins takes the new cnidarian for a mission critical swim.
We always like to give new plugin developers a mention here on FCP.co. So after a bit of amateur detective work, we talked briefly to the man behind UsefulFX and the first plugin from him, Nostalgia.
Hot off the press and subject to change, FCPWORKS and FCP.co have announced the schedule and speakers for this year's presentations at NAB2016
Jasper Siegers very kindly sent us this information about how he uses Compressor Server, free open-source software that his company developed. As part of the trio of Apple's Video Pro Apps, it is good to see this often overlooked programme get a big functionality boost. You want watch folders or want to set up a cluster? Jasper's app might just be the solution.
Yes more great FCPX demos to watch and more coffee to be drunk this morning!. FCP Exchange continued on March 5th at Abel Cine in Burbank. The second session of the Final Cut Pro X workshop series featured collaborative workflows and shared storage solutions. The day included sessions from Apple (which was private for the crowd) Quantum, Softron, Blackmagic, and editors Charlie Austin, Patrick Southern and David Tillman. Great viewing!
We couldn't make BVE at ExCel London this year, a shame as Soho Editors had a lecture area that put on presentations that mainly concentrated on Final Cut Pro X. So luckily for us they have just published recordings of the sessions. Rory from Soho Editors, Thomas Grove Carter, a couple of Alexes and Pierre from Softron all take to the stage.
Swiss national television network Radio Télévision Suisse handles 800 hours of on-air content each year in its Post Production department, with FCP X and a ShareStation Enterprise shared storage system. Ronny Courtens explains why RTS chose FCP X, the shared storage system and how the combination of speed and performance is perfect for their needs. Lots of info, lots of pictures and lots of videos, so get a large coffee and enjoy. Worth an email to anybody who thinks FCP X is not a professional tool as well!
Whiskey Tango Foxtrot is the new comedy war film from Paramount Studios starring Tina Fey. We asked director Glenn Ficarra, Editor Jan Kovac, Assistant Editor Kevin Bailey and Apprentice Editor Esther Sokolow how the film was made, what was different from Focus and of course how well Final Cut Pro X performed?
We think you know the answer already, but again their detailed workflow is well worth a read. Especially if you are going to cut your next Hollywood feature film on Final Cut Pro X!
One of Thomas Grove Carter's recent jobs was cutting the season 6 Game of Thrones trail. He very kindly put together a few tips he used when editing in FCPX and also described why he didn't choose to use Avid.
We haven't been attending BVE this week. That's because we have been testing out the hottest new storage product from LumaForge called 'JellyFish.' It's small, fast and got GigE or 10GigE tentacles to share media across clients. It is also very affordable.
We were lucky to get a sneak preview of a very early copy of the latest new software from the Belgian developer Softron. M|Replay gives you four channels of 'live' record and replay on your Mac Pro.
Post Production on “What Happened, Miss Simone?” An Oscar Nominated Documentary Edited on Final Cut Pro X
Not only did 'What Happened, Miss Simone" open the 2015 Sundance Film Festival, it's also on the nominee list to win the best documentary feature at the 2016 Oscars. The editor, Joshua L Pearson and Tim Moyle, the assistant editor tell FCP.co about how the film was edited on FCPX with special emphasis on managing and keywording a lot of archive.