LEITNER’S MONDO NAB, PART TWO

By David Leitner

Originally posted April 2011.

I wish to continue my notes about developments in large-sensor cameras, but of course the magnesium-powder newsflash sucking up all the oxygen at NAB today is Apple’s stealth sneak peek at Final Cut Pro X last night.

Apple hasn’t officially attended NAB for several years—many of us miss the consummate showmanship of their former press conferences—so when news broke on the eve of NAB that an entire slate of speakers at the 10th annual FCP User Group SuperMeet had been swept aside for a special guest, Apple fever took hold. The event sold out in a nanosecond.

I held a second-row seat in the huge convention room at Bally’s, surrounded by the largest, most energized throng I’ve encountered at this year’s show. Ironically the SuperMeet is a satellite event, not officially part of NAB. Apple, in other words, had it both ways—avoiding the costs of a massive trade show yet reaping the promotional benefits.

As a result, you’ve probably heard the news already: dramatically revamped interface, 64-bit processor capability, no more RAM ceiling of 4GB, continual background rendering by means of unused CPU cycles (the more cores, the better)–and sayonara to transcoding. You can mix and match different codec’s and formats, from DV to AVCHD to 4K, and enjoy native editing of each on the same timeline.

The light gray background of FCP’s current interface has been replaced by serious-looking dark gray with big clips containing thumbnails of their contents. A “magnetic” timeline protects complex arrangements of clips from accidental bumps and sync loss. New “compound” clips incorporate entire sequences for a decidedly less-cluttered appearance. These are readily “auditioned” anywhere on the timeline without essentially disturbing it.

A new single-click color matching capability joins instant cropping and keyframing in the Viewer window (upper right, where the former Canvas window was). Power windows now isolate color correction. Scrubbed clips are pitch-corrected for audio. Clips are automatically image-stabilized and color-corrected upon ingest if desired.

Randy Ubilos, Chief Architect, Video Applications, who demoed a beta version of FCP X on stage (no crashes), emphasized that in FCP X, “timelines … Read the rest

FESTIVAL FILM WATCHING AND THE DEATH OF THE DVD

By Scott Macaulay

I always feel odd holed up in my hotel room watching DVDs while at a film festival. After all, a film festival is supposed to be festive, and that means audiences, excitement, buzz. But invariably, once you’ve missed a screening those DVD screeners that weren’t available pre-fest are suddenly pressed into your hands by anxious publicists. Or, maybe you just meet a cool filmmaker on the shuttle bus and agree to watch HIS short that night. If you’re doing your job as a journalist, at least some of your festival stay will be spent watching DVDs in your room, perhaps with a room service tray by your side.

While Netflix recently declared the DVD era over, the company also acknowledged that the format’s demise will take a few years. For travelers, though, DVDs may actually outlive something to watch them on. I know we don’t have to march lockstep to the directives issued by Apple’s product line, but the company does have the capability to declare EOL on features and technologies. (Remember the floppy disk, killed when Apple launched its iMac?) This time out, Apple has its sights set on the DVD. Their latest OS, Lion, is download only. (A USB drive version comes out shortly, but at a much higher price.) Their hottest laptop, the Macbook Air, contains no DVD drive at all. And then, of course, there’s the “post-PC” device, the iPad, which also relies on streaming media.

I took three business trips in the last year using the iPad only. The first trip, to CPH:DOX, was frustrating because I found it really difficult to write meaningfully on the iPad’s glass keyboard. At Sundance, I again decided to leave my laptop — an aging white Macbook — at home and travel with an iPad and Bluetooth keyboard. This combo worked fine, but the WordPress iPad was enormously frustrating. By Cannes, I had bought the iPad camera connector for photos and downloaded Blogsy, which offered a much better way to blog on the iPad. Finally, I had a lightweight mobile writing set-up with long battery life… … Read the rest

SXSW SNAPS, DAY ONE

The first day at SXSW, the 4th floor. “What’s this line for?” I asked the woman standing next to me. “No idea,” she said. But it wasn’t a line for anything. The crowd was just there. And as I pushed my way through, it slowly started to dissipate. It was like one of those highway slowdowns, where the memory of congestion lingers after whatever caused it.

If you’re going to sponsor a festival, at least do something useful, like this rolling Samsung display of panel times, schedule changes and social media activity.

When you check into SXSW, you’re given three things: the catalog, your badge, and a punch card giving you one free Macallan single malt a day.

I have wished there was one of these guys — except promising Blackberry repair — at Sundance.

Lonelygirl15 creator Mesh Flinders at the Austin Convention Center. Several years later, has anyone done viral narrative video better?

Well known publicist Jessica Edwards, left, is here at SXSW as a director. She’s made Tugs, a documentary short about the New York City harbor. At right is Austin filmmaker Heather Courtney, whose documentary Where Soldiers Come From, world premieres here.

Austin human signage.

The Paramount marquee before the premiere of Austin filmmaker Aaron Burns’ blacktino. (Filmmakers, remember that when you go all e.e. cummings with your titles your signage will invariably be wrong.)

On my way to the premiere of Source Code, the line at the Apple pop-up store was around the block. Afterwards, still a line and they were still selling new iPad 2s.

A tiny Tiny Furniture reunion: at the Film Opening Night party at Buffalo Bills, actor Alex Karpovsky and producer Alicia Van Couvering.… Read the rest

DETAILS ON APPLE’S NEW IMOVIE FOR IPAD2

By Scott Macaulay

Apple announced the new iPad 2 today, and with the announcement came a new iMovie for iPad. The iPad itself is thinner, has a faster processor, has both front and rear-facing cameras (although the still camera is not of iPhone 4 quality), and can be outfitted with a new and very cool protective covering that snaps on via magnets and can be folded for use as a stand. As for iMovie, Jobs said at the keynote that with its precision editor and touchscreen interface multi-track audio “you can really edit a movie on this thing.” I’m not sure I’d go that far, but it’s definitely cool to see this added functionality to the iPad. (Unfortunately, the new iMovie won’t work on the existing iPad 1.) There’s also a dock connector that outputs HDMI in 1080P from, said Jobs, any app, which is a feature I’m sure many independent filmmakers looking at apps as possible distribution outlets might be interested in.

More on the iPad 2 and video from Ars Technica:

A 1GHz dual-core A5 processor will power the iPad 2′s 1024×768 display. Though the screen’s resolution remains the same, Steve Jobs said the iPad 2 would be able to support 1080p video out and mirrored video through an HDMI adapter, which Apple has priced at $39. However, the iPad 2′s video codec specs top out at 720p, so it’s all but certain that the 1080p output is only upscaled 720p.

The long-awaited front- and rear-facing cameras have been added to the iPad 2, with the rear one able to record 720p video and the front at a VGA resolution. The iPad 2 will be able to get service on either AT&T’s HSUPA or Verizon’s EVDO network, but customers will have to choose one carrier or the other. Unfortunately, the iPad 2 won’t be able to act as a hotspot like the iPhone 4, and no mention was made of support for either carrier’s faster LTE networks.

Further details come from Robert Scoble, who was at the keynote and filed an audio report. He said, “The new Garagebank and iMovie … Read the rest

WHAT’S IN MY INSTAPAPER: SUNDAY MORNING LINKS, 2/20/11

By Scott Macaulay

Here are a few things in my Instapaper this week.

In GQ, Mark Harris looks back at “The Day the Movies Died” and the preeminence of easy marketing over original ideas. An excerpt:

Such an unrelenting focus on the sell rather than the goods may be why so many of the dispiritingly awful movies that studios throw at us look as if they were planned from the poster backward rather than from the good idea forward. Marketers revere the idea of brands, because a brand means that somebody, somewhere, once bought the thing they’re now trying to sell.

YouTube has a contest for non-profits making videos.

Boing Boing considers outside filmmaker Neil Breen, “real estate magnate turned sci-fi auteur.” His latest:

I Am Here….Now (trailer) from Cinefamily on Vimeo.

At Shadowlocked, a useful and detailed exploration of the major studio policies on take down notices and YouTube.

Via Paid Content, a report from a publishing industry invite-only “Roundtable on Tablet Subscriptions” held in London. The publishers’ number 1 demand? A reduction of Apple’s just-announced 30% tariff on iOS-delivered content? No. “A fair business partnership” is #4. #1 is:

1. Censorship of content

Freedom of speech is the basis of the media’s existence. Publishers cannot agree with the practices of technology companies that interfere with editorial decisions on what to put into a digital publication. So we appeal to Apple to change its rules and practices that led to the rejection of apps in some European countries regarding content considered legal and appropriate in those countries.

Like a ton of people, I linked to the fantastic reverse-zombie Dead Island trailer this week. A bona fide viral sensation, the trailer has now prompted a movie deal in which the film will embrace the backwards-chronology style of the trailer instead of the more normal forward gameplay of the game title itself. Reports Drew McWeeney at Hitflix:

Techland, the Polish developer for the game, has got to be dancing in the streets right now. This is a game that had been delayed and that had fallen off the radar after being

… Read the rest

NEW FINAL CUT SUITE RUMORED; iPAD CLIPTOUCH APP RELEASED

By Scott Macaulay

Back in September we asked, “Is Apple Delaying a New Final Cut Studio?” The French rumor site Hardmac reported that the next version of editing software had experience “setbacks” and that, furthermore, engineering talent was being transfered to the iOS department. Now, Hardmac is reporting that a new version of Final Cut Studio “should” come out in March or April. From the site:

Let’s start with Final Cut Suites. AS we reported earlier, all version of Final Cut should be unveiled in March or early April. It should be a substantial update when compared to the previous version, but not sure it could bring all new features expected by all Pro users. Two versions are already running at beta level, one for Snow Leopard, and one for Lion. Some new features will only be available on Lion’s version, due to the changes made on QuickTime layer.

Meanwhile, from Macstories is news of Cliptouch, a brand new Final Cut Server client app that’s popped up at the App Store. From the site:

I believe this is the first native Final Cut Server client specifically designed for the iPad — ClipTouch by Factorial. ClipTouch (which requires iOS 4.2, Final Cut Server v1.5.1 and access to open ports 8821 and 8826) works “out of the box” by giving you access to all your video assets stored in FCS, browse and collaborate on your media taking advantage of the iPad’s large screen and multi-touch functionalities.

You can use the iPad app instead of a review workstation to access your library over local or remote WiFi, 3G and VPN, download and view clip proxies, change the default asset’s metadata and add annotations. ClipTouch works with the standard format of clip proxies, but a compressor is available to achieve optimal results. A search feature is available, together with the possibility to clip the timecode display.

ClipTouch is available for $14.99 at the App Store.… Read the rest

FLIPBOARD: FIRST TAKE

By Scott Macaulay

I’m finding Flipboard, a new app/web reader that launched this week, kind of cool, but I can’t tell how much I really like it yet. What Flipboard does is create on your iPad a “personal magazine,” displaying an aggregation of different feeds and channels in a design-y format. What makes it more than an aestheticized RSS reader is that it pulls in social as well, turning your Facebook and Twitter feeds into channels that you read like flipbooks. So, open the Flipboard version of your Facebook and the cover image might be a collage of Japanese movie posters that a friend linked to. The first few pages are full of news articles that can be sized-up to reveal the whole text, and along the side of the frame are comments. A few pages later and status reports take on the aura of Jenny Holzerisms as they are displayed within different amounts of negative space — even sometimes just one single tweet alone on half the screen. Tap a friend’s tweet or status update and it expands along with a new side column containing the back-and-forth of the whole thread. You can reply from within the app.

Like I said, it’s kind of cool — definitely a different way of reading what your friends are talking about, and a nice respite from Facebook’s bland, sometimes confusing, but always un-entertaining interface. That said, there’s a slight paradigm shift going on with Flipboard. I’m not a subscriber to the anti-iPad “it’s just a consumption device” argument (uh, so is a book), but it’s interesting that the company’s materials position you on your iPad as a consumer and your friends as content providers. (Yes, I know, the site says you can “share anything,” but I think the Flipboard UI is not one that inspires one to create.)

But before I sound too much like Cory Doctorow, I should say that I think that’s okay. Sometimes you do just want to read stuff, and I like that Flipboard places links and updates from my friends within a more graphically appealing envelope. But how is … Read the rest

SOFT SELL

By Filmmaker Staff

Filmmaker and its friends recommend our favorite apps, programs and Web services.

ARTISTS ADD PORN TO THE iPAD

By Scott Macaulay

Looks like Banksy’s Exit to the Gift Shop is influencing folks out there. This viral campaign by a group of San Francisco artists, Freedom From Porn , who are protesting the ban on adult material within Apple’s walled garden, clearly cops a few licks from the British artist’s great new movie.

Freedom From Porn from Freedom From Porn on Vimeo.… Read the rest

THE iPAD AS AN (NON) COMMUNAL DEVICE

By Scott Macaulay

I bought an iPad the day it came out and wrote a couple of times on the blog and in our newsletter that I’d be posting a review of it. Well, the review is 80% done and sitting on my desktop, but I never finished that final 20% because, frankly, I got sick of reading about the iPad and decided that I didn’t want to add any more verbiage about it to the blogosphere. Short version, though: despite various qualms (no Flash, speakers on only one side of the device, the primacy of Apple’s walled-garden app store, a shutter effect when loading Safari pages, and the ick factor of Apple’s recent, increasingly heavy-handed business and public relations tactics), I like it. It has fit comfortably alongside my other various screens, and, particularly, it makes watching web videos a really lovely experience.

But I was prompted to write this short blog post after checking out John Gruber’s site today and going to this link to a post by Craig Hockenberry, who describes the iPad’s huge potential and current limitations as a communal device. In that 80% done review, that was my single biggest complaint about the iPad. Here’s what I wrote:

No User Switching: This is actually my biggest critique of the iPad, and it strikes at the existential question of its identity — that is, whether it’s a standalone device or a peripheral. Few are claiming that the iPad can do all that you need… but, at the same time, arguments for it focus on all the things that it can do that your laptop can do too. By its design, though, it is a peripheral device because, even before you can properly turn it on, you need to sync it to a master computer with iTunes. Fine — iPods are the same. However, the iPod is fundamentally a personal device. It’s got your music and your earbuds go in your ears. The iPad’s large screen, however, makes it a perfect communal sharing device. The iPad is a great device to leave on the living room table for all members

… Read the rest