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AJA Product news for Final Cut Pro X at IBC 2014

AJA cion IBC2104

One thing about attending trade shows is the excellent one-on-one time you can get with people who can answer your questions. AJA's Bryce Button gave us the AJA news for FCPX.

We attended the AJA Press Briefing offsite, but also had a chance to sit down with Bryce and discus how the new products and updates affect FCPX.

The CION is a lovely looking, well built camera and AJA has just published this ungraded video demo to Vimeo.  

 

"The UltraHD 23.98 fps normal speed shots were acquired in camera as ProRes 4444; the slow motion shots were acquired as ProRes 422 with the camera operating at 59.94fps and files saved in-camera as 23.98fps.

Every shot is presented exactly as it was photographed; no exposure adjustments, color correction or image manipulation of any form took place in post-production. The studio shots were captured using three point lighting utilizing both the supplied PL lens mount as well as a third party EF lens mount. With the exception of the umbrella shot, which utilised a single 1K light, the remaining shots were captured with available light.

CION’s white balance values were specifically selected to match the needs of the scene and, in certain cases, auto white balance was also utilized. CION’s in-camera color correction modes were also employed during the shoot. In the scenarios presented, ‘Skin Tones’ and ‘Normal’ settings were selected throughout the filming.

The version you are watching here is the 1080p downconversion of the UltraHD ProRes 4444 master file."

So the ProRes files from a CION will import directly into FCPX as you would expect, but what about the AJA RAW? Bryce confirmed that these CinemaDNG files will be able to be imported into FCPX soon. It is more of a problem with the image sequence rather than the file type. 

If you need to use the CION's RAW files now with FCPX (the camera's launch is imminent  -they had hoped to have it out for IBC) then you can use the AJA app CamXchange to help. 

Kona4 IBC

Whilst the big PR splash about the Kona 4 is for Windows 7/8 and Creative Cloud, the board will be supported by OS X, but only after Yosemite has been released.

Why use a $1,995 Kona 4K rather than an Io 4K?  The Kona 4 is a more powerful card and supports high frame rates better such as 50/60p in 4K. You will have to supply your own enclosure for it to work with a new Mac Pro.

Should you end up choosing the AJA Io 4K, you will now find a $150 discount voucher for Corning Optical Thunderbolt cables in the box.

Finally the third item of interest is the $695 LUT-Box. This product in their mini converter range applies a custom LUT to the signal that passes through. If you are working with footage that FCPX does not display correctly with a built in LUT, by using this converter after the output (such as an Io 4k) the footage will look correct when the relevant LUT has been loaded.

At IBC the LUT-box had a free upgrade that allows a 1D LUT to be applied before the 3D LUT. Not entirely sure what that means, but if you are in the business of shooting Log and then grading, we are sure it's a good new feature for you!

 


Written by
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I am the Editor-in-Chief of FCP.co and have run the website since its inception ten years ago.

I have also worked as a broadcast and corporate editor for over 30 years, starting on one inch tape, working through many formats, right up to today's NLEs.

Under the name Idustrial Revolution, I have written and sold plugins for Final Cut Pro for 13 years.

I was made a Freeman of Lichfield through The Worshipful Company of Smiths (established 1601). Though I haven't yet tried to herd a flock of sheep through the city centre!

Current Editing

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2020 has been busy, the beginning of the year was finishing off a new property series (cut on FCP) for Channel 4 called The Great House Giveaway. I also designed and built the majority of the graphics as Motion templates. It has been a great success and the shows grabbed more viewers in the 4pm weekday slot than any previous strand. It has been recommissioned by C4 for 60 episodes, including prime-time versions and five themed programmes. 

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Although both were postponed to later in the year, I worked again on ITV's coverage of the Tour de France and La Vuelta. 2020 was my 25th year of editing the TdF and my 20th year as lead editor. The Tour was the first broadcast show to adopt FCPX working for multiple editors on shared storage.

 

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BBC's Snooker has played a big part in my life, I've been editing tournament coverage since 1997. I'm proud to be part of a very creative team that has pioneered many new ideas and workflows that are now industry standard in sports' production. This is currently an Adobe Premiere edit.

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Covid cancelled some of the regular corporate events that I edit such as trade shows & events. I was lucky however to edit, from home, on projects for Amazon Kindle, Amazon Black Friday, Mastercard and very proud to have helped local charitable trust Kendall & Wall secure lottery funding.

As for software, my weapon of choice is Final Cut Pro and Motion, but I also have a good knowledge and broadcast credits with Adobe Premiere Pro, MOGRT design and Photoshop.

Plugin Design & Development

I'm the creative force behind Idustrial Revolution, one of the oldest Final Cut Pro plugin developers. It hosts a range of commercial and free plugins on the site. One free plugin was downloaded over a thousand times within 24 hours of release.

I also take on custom work, whether it is adapting an existing plugin for a special use or designing new plugins for clients from scratch. Having a good knowledge of editing allows me to build-in flexibility and more importantly, usability.

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Now in its 10th year and 4th redesign, running FCP.co has given me knowledge on how to run a large CMS- you are currently reading my bio from the database! Although it sounds corny, I am pretty well up on social media trends & techniques, especially in the video sector. The recent Covid restrictions has enabled live FCP.co shows online. This involves managing a Zoom Webinar through Restream.io to YouTube and Facebook. 

The Future

I'm always open to new ideas and opportunities, so please get in touch at editor (at) fcp.co. I've judged film competitions, presented workflow techniques to international audiences and come up with ideas for TV shows and software programs!

 

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