Unless you’ve been under a rock for the past few weeks, you are probably aware of the following two news items. So this update is for those rock-dwellers. Apologies to everyone else, carry on with your tweeting and such.

First, Canon announced a BETA availability date for their EOS Log & Transfer plugin for Final Cut Pro. Well, not a specific date, but sometime in March. This software product will be made freely available for DSLR video users and enables simple and straightforward acquisition of footage from CF cards via Log and Transfer, just like you would with P2, XDCAM, Red, etc. It’s a fantastic standardized workflow for FCP users, and kudos to Canon for making this available free of charge. If you were thinking that this software is eerily close in featureset to the Glue Tools product we demo’d at Cine Gear, well you’d be correct. That’s because it is. Missed that Glue Tools demo? No worries, I’ve embedded the video at the bottom of this post.

The second bit of news came in the past week, first in the form of that Canon 5D MKII firmware rumor we posted, followed by official news from Canon that the new MKII 2.0.3 firmware would be available worldwide March 17, 2010. New features confirmed in this firmware update include:

* 1080p 24, 25 and 29.97fps recording options. (24p is actually 23.976fps, and 25fps requires the camera first be set to PAL mode).
* 640×480 30 (29.97) and 25fps (25fps requires camera first be set to PAL mode).
* Video histogram display (Canon notes on this only show brightness histogram, but an earlier rumor presentation slide indicated RGB hist as well).
* Manual audio level control (with meters!).
* Audio sample rate changed from 44.1KHz to 48KHz.
* Aperture (Av) and Shutter Priority (Tv) in Video Mode.

This is an incredibly useful update for filmmakers, fixes several workarounds we’ve had to deal with, and GIVES US PROPER EXPOSURE TOOLS! The video histogram should prove to be incredibly useful. There are some limitations of course. For instance, the histogram cannot be viewed while recording, only before hitting record. If you’d like to see the framerate menu and audio meters in action, take a look at this behind-the-scenes Canon promo video And you can see these menus and other details in Canon’s posted notes on this firmware update.

Here is the Glue Tools Log & Transfer plugin demo from Cine Gear 2009:

We mentioned this excellent article on Canon 5D Post-Production when it was first published, and then Oliver had to pull it for a few weeks. Well it’s back online now, and I encourage you to check it out!

Oliver Peters has written an incredibly detailed tutorial on how to accomplish post-production when tasked with editing and grading Canon 5D MKII footage. It’s an extensive article that demystifies some of the post questions, and I highly recommend taking the time to read it through. Fantastic work as always, Oliver.

Experienced editor Scott Simmons shares his tips for “edit suite etiquette” and the list is fantastic. From OS/software suggestions to things as simple as clean up your desk, he nails it. Great post.

Ripple Training’s Steve Martin has written an AWESOME tutorial that thoroughly delves into Final Cut Pro’s new slow motion and speed ramping toolset. With FCP7 there are a number of changes to the interface, as well as new features, and Steve lays everything out in detail. It’s a great way to get caught up on this new toolset that can save you editing time and deliver better results. This one is definitely worthy of bookmarking and revisiting as you learn how to use these improved features.

Got word today of FCP Versioner, a “backup and versioning utility for Final Cut Pro” that not only backs up and organizes your project files based on criteria you define, it also keeps changelogs of what has been modified between versions. Looks like a killer app for those of us with more project files than we know what to do with. Hopefully it will be as intelligent and useful in practice as it sounds. Details and a 15-day free trial here.

Over at ProVideo Coalition I’ve posted a quick tutorial for Macbook Pro users on how to enable the faster of your two internal graphics cards (if so equipped). If you weren’t aware that your model includes two cards, you’ll be happy to hear about the potential performance gains. Check it out here.

Everyone’s favorite After Effects resource Video Copilot has announced a new FREE plugin for AE users called Sure Target 2. It will be released for After Effects 7, CS3, and CS4.

Announced features include; Auto-Camera Rigging, Auto-Populate, Ease Target Modes, Auto-Focus, Inertia Inheritance, Camera Roll, Dolly Control, Create a Baked Camera, Condition Protection, and Refresh Expressions. Check the blog post on this for full feature descriptions and details.

The latest Cineform Prospect and Neo series beta software releases include a new metadata capability, allowing users to render/display passive metadata embedded in the source video. This allows users to turn that info on or off at will. One common use might be to non-destructively add timecode or other “burn-in” info for editing and post, then remove that info for finishing. Here’s a quote from the blog post on this feature:

“As metadata is so often lost and misplaced, you are lucky if you left with just the timecode in many workflows, so we long ago moved metadata from side-car files or within the file wrapper (AVI/MOV/MXF) and placed it within the compressed sample itself. This enables the decoder to read its own metadata (not possible with 99% of video types), all that was missing was the font engine to render the results in the display. The decoder now has that font engine. Offline workflows typical have a range of burn-ins top of the video image, returning to burnin free media for online/finishing. The CineForm burnins are non-destructive allowing the operator to enable to display the overlays, choose which elements to display, switch from offline to online with a single click. Any tools that use the CineForm decoder will gain this feature.”

Note to those who may be buying Windows 7…if you want to run Adobe Creative Suite (specifically the apps Premiere Pro and After Effects), pay for the 64-bit version of Windows now; you’ll see instant performance gains and avoid having to upgrade your OS later when Adobe ships a new version of CS. They’ve officially stated that the last 32-bit compatible version of CS is CS4.

“New Macs run 64-bit directly; if you are buying a new PC, make sure to choose the Windows 7 64-bit version. You’ll see up to 200% performance gains on CS4 Production Premium immediately, and you’ll avoid having to upgrade the OS later.

We’ve optimized and architected the past three versions of Adobe Premiere Pro and After Effects to deliver better performance on 64-bit operating systems, and our customers have seen significant productivity gains as a result. For example, HD workflows using CS4 Production Premium on a 64-bit system with 16GB RAM are 50% to 200% faster than they would be on a 32-bit system with 4GB of RAM. Performance gains include increased editing speed, rapid switching between tools, and faster rendering—leaving you more time to be creative.”

Just something to be aware of…

Imagineer Systems has posted a case study on their website that shows the power of their tracking technology. Nick Guth, the VFX artist tasked with post-production on a student-filmmaker produced music video had to track and fix 165 shots in 7 days.

It’s a classic student filmmaker tale; “The entire music video was shot on RED… Additionally, the director was outputting a 2K film print so we stuck to working at 2k.” Of course. To complicate matters, no VFX supervisor on set meant that many issues fell through the cracks. “In one shot, we’d only see a single tracking marker, and in another shot, we had two completely different green screens cobbled together with the seams showing.” The main character in the music video wears a gas mask with a front section that was to be replaced with a composited screen. “The director thought a single 3×5 orange index card would be enough for tracking the mouth, so he literally slapped the card onto the front of the mask as he shot the entire film! Some shots were close up, some wide - and all of which required a unique track for every shot.”

The bottom line is that Nick was given a nearly impossible task, and couldn’t have pulled it off on that accelerated timeline without a powerful tracking tool like mocha. He goes on of course, for the full cautionary tale of classic poor planning and execution on set, check out the article. And watch a few before and after shots below, as well as the finished music video.

Area 51 - Music Video Basic Breakdown from Nick Guth on Vimeo.

Digital Video Expo 2009 will be held on September 22-24, 2009 in Pasadena, CA. One of the expert training options being offered are continuing education courses on Final Cut Pro 7 by Weynand Training International. Instructors include Diana Weynand, Michael Wohl, Jeff Sobel, and Mark Spencer.

“I can’t wait to teach my new Final Cut Pro 7 certified course with all the Digital Video Expo class participants,” said Diana Weynand. “As my FCP 7 book is hot off the press and being released this month, Digital Video Expo is the perfect opportunity for attendees to participate in this exciting, Apple certified training. Loaded with lots of new tips and tricks, the course utilizes four great sets of footage, including TNT’s ‘Leverage,’ ‘Playing For Change,’ ‘An Accidental Quest for Enlightenment,’ and ‘SeaWorld,’ and teaches the new FCP 7 features. We start the course with basic editing, and move through a comprehensive use of Final Cut Pro 7.”

The Digital Video Expo Apple Certification Training program for Final Cut Studio includes the following courses:
Final Cut Pro 7: Level 101
Final Cut Pro 7: Level 300
Fixing and Mixing Your Sound with Apple’s Soundtrack Pro
Designing and Animating Motion Graphics in Final Cut Studio
Apple’s Color 1.5

For complete event and registration information, please visit www.dvexpo.com.

This coming Sunday will bring the 2nd Annual FCPUG SuperMeet in Amsterdam. Tickets are on sale online for €15.00 Euros, €10.50 each for students with valid ID. Tickets at the door will be priced at €20.00, if the event does not sell out in advanced (as SuperMeets historically do). Doors open at 16:30 with an FCP Showcase with 26 exhibitors; Presentations begin at 19:00 and continue until 23:30. Details follow:

Scheduled to appear will be Final Cut Pro co-creator Michael Wohl who will
show off the new features as well as discuss what we need to know about the
recently announced and shipping Final Cut Pro 7.

Also scheduled on the agenda and in order of appearance will be:

Apple Certified Trainer, editor and designer Simon Walker will show “How to
do a Grade with Color 1.5 in just 10 Minutes.”

Jason Levine, Sr. Worldwide Evangelist for Adobe, is back on the SuperMeet
stage to share the latest integration between Final Cut and Creative Suite 4
Production Premium. Jason will show how to take your FCP sequences into
Premiere Pro CS4 and dynamically create complex, rich Blu-Ray discs in
Encore CS4, building your menus natively in Photoshop CS4, and even creating
motion menus and transitions in After Effects CS4.

Space Digital’s Simon Blackledge and Gary Kelly will once again take the
SuperMeet stage with brand new tips on the importance of choosing “More
Right Tools for the Job” with Final Cut Pro at the center of their workflow.

MacVideo.tv’s Rick Young and JVC’s Semir Nouri will show off the incredibly
simple JVC “Instant Editing” workflow with and show some stunning footage
from the recently introduced compact hand-held GY-HM100 3-CCD camcorder and
shoulder-mount GY-HM700, the industry’s first professional camcorders to
record files in the native QuickTime format for Apple’s Final Cut Pro.

The organizers of the SuperMeet also intend to turn the show over to the
audience for an interactive discussion with Final Cut Studio experts who
will answer any and all questions on the new Final Cut Studio as well as
listen to user feedback and feature requests for future versions of Final
Cut Studio. This portion of the meeting will be videotaped and later put on
the internet for the world to see.

Also expected on stage will be a “Show and Tell” from a soon to be announced
EU filmmaker.

Rounding out the evening will be the always wild “World Famous Raffle” where
over €43,000 Euros of valuable prizes will be handed out to dozens of lucky
winners.

I’ve posted over at PVC a short video on a software research project involving Adobe. This application essentially automatically turns shaky handheld footage into smooth, steadicam-like motion. This isn’t your grandpappy’s Smoothcam, it’s a whole new way to approach the technical issues, and the end result is mind-bogglingly good. Check it out, and if you have an Adobe contact, you know what to do.

Over at ProVideoCoalition, Editor Scott Simmons has written a KILLER article on the The Basics of Avid Media Composer for a Final Cut Pro Editor. Not to be missed. Here’s an excerpt that explains the article focus.

What follows in this article is not a debate of Avid vs. Final Cut Pro or a conversion document that says you should move from Final Cut Pro to Avid Media Composer, but rather a step-by-step guide for anyone new to Avid (or curious about the software in general) to launch the software and perform a few basic functions. It will be geared more toward the FCP editor, but a lot of the basic functionality is the same in many non-linear editors. I won’t compare and contrast various Avid and FCP features as that’s not the focus of the article though I will point out the Avid equivalent of a number of FCP tools. And if you’ve never edited with a NLE application before then consider this primer a way to get your feet wet in Avid Media Composer 3.5.

Highly recommended. Check this one out!