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home editing training consultation contact safe jet 2011.07.13 ( final cut pro ) to those of you who know us, it will come as no surprise, that my regular partner in crime, chris roberts and i have been busily immersed in learning all that we can about final cut pro x. we’ve committed ourselves to the task of better understanding the nature of this curious new beast. indeed chris recently posted a list of shortcuts he’s found to be invaluable on the journey so far. each new discovery or quirk results in a flurry of emails that see our inboxes overflow. though we ask each other all manner of questions about a particular feature or workflow sometimes we’re just looking for a sanity check. which brings us to the way the new broadcast safe effect works. in legacy versions of final cut pro you could apply a broadcast safe filter to any individual clip or nested sequence. it was always important to apply the filter last to prevent any subsequent changes overriding the limiting effect of broadcast safe. in final cut pro x you can also apply the new broadcast safe effect to a clip or a compound clip. however any corrections you make to an individual clip appear to be applied after broadcast safe in the effects pipeline. as before any adjustments you make afterwards will overrule the effect and if you’re not careful you could push the clip outside the regulatory requirements. lifting highlights select a clip in the timeline. choose window > show color board [⌘6]. click exposure to select the exposure pane [^⌘e]. choose window > show video scopes [⌘7] select the waveform scope from the settings pop-up menu. tip: you can use the keyboard to navigate directly to the waveform scope with the command: ⇑⌘7. drag the highlights slider up to increase the brightness of the clip outside the broadcast safe range (past 100 ire on the waveform scale). applying broadcast safe to individual clips choose window > media browser > effects to open the effects browser [⌘5] (or click on the effects button in the toolbar). select basics category and double-click the broadcast safe effect to apply it to the selected clip. choose window > hide color board [⌘6] to return to the video inspector. confirm that the broadcast safe fix method parameter is set to reduce luminance. in this context the broadcast safe effect will not bring the highlights down within legal limits. to properly benefit from the application of the broadcast safe effect you need to collect your footage together in a compound clip. click to select the broadcast safe effect in the video inspector and choose mark > delete [←] to remove the effect. applying broadcast safe to compound clips click in the timeline and choose edit > select all [⌘a]. choose file > new compound clip [⌥g] (or right-click one of the selected clips and choose new compound clip from the menu). double-click the broadcast safe effect to apply it to the selected compound clip. skim through the clip to see that the problem clip has been adjusted and the luminance is now safely within legal limits. in many ways the steps of applying broadcast safe to a compound clip mirror a technique we would commonly use with nested sequences in legacy versions of final cut pro. the key is to understand that in both situations the order in which effects are processed defines the final outcome. with fcp x corrections you make to individual clips are addressed after all of the effects. by applying an effect to a compound clip you ensure it appears after any effects on individual clips in the render pipeline. in the case of broadcast safe this is the best way to achieve predictable results. tags: fcp x 7 comments legacy jet 2011.06.27 ( final cut pro , final cut server ) in time no one will remember our work our life will pass like the traces of a cloud and be scattered like mist that is chased by the rays of the sun for our time is the passing of a shadow and our lives will run like sparks through the stubble. derek jarman, blue , 1993. as patrick inhofer laments the passing of color , my thoughts turn to the other applications we appear to have lost this week. soundtrack pro , dvd studio pro , final cut server and final cut pro 7 . as a trainer and consultant my job involved helping people understand how these tools could enhance their workflow and create new possibilities for their projects. latterly with final cut server i had spent time helping these same people understand the importance of preserving their creative work. not just keeping it, but making it accessible. i do understand that software comes and goes. the best one can hope for is that the files are of a sufficiently open standard and that translation tools exist should an ignominious fate befall your tool of choice. regarding this week’s news my friends at meta media technologies have immediately declared a commitment to help creative companies transition with final cut pro and object matrix have announced support for final cut server migration . i’m sure others have similar intentions and i know i’m already embroiled in all sorts of discussions — it’s been rather a long week! the thing is, you’ve probably guessed by now, i’m not really writing about software. i’m writing about our work. our collective legacy. a few weeks ago i posted an entry about the importance of creating sustainable, well organised libraries . at the time i was feeling encouraged by what we had seen of the events library in fcp x and had begun dreaming of what that might mean for final cut server catalogues. it seems we’ll never know. in that piece i also wrote about the importance of preserving our media heritage. from home movies to mainstream, big budget media we should be concerned about preserving our stories. that’s what i really care about. it’s what i think we should all care about. metadata in fcp x is a great first step. i’d like a means of cataloguing and sharing that information amongst collaborators. it’s my hope that changes to the fcp project structure, while sealing the fate of final cut server, will lead to a new, more robust media asset management system. one can dream. this time next year (or perhaps sooner) we may all be merrily editing away with the magnetic timeline and watching the video playback on a calibrated reference monitor, quarrels about the feature set forgotten. i hope so. but we also need to make sure that we’re able to preserve our projects. because they are our work. our stories. the nomenclature of final cut pro x actually recognise this. the developer team do understand. i know they do because open standards were the cornerstone of final cut pro. i hope they understand that a project is never finished . that the work we create ought to live on. to achieve that sort of longevity, project files must to be both accessible and interpretable. we’re all depending on it. update: apple have published an fcp x faq , which explains that vast differences between fcp 7 and fcp x it may never be possible to update your legacy projects: “final cut pro x includes an all-new project architecture structured around a trackless timeline and connected clips. in addition, final cut pro x features new and redesigned audio effects, video effects, and color grading tools. because of these changes, there is no way to “translate” or bring in old projects without changing or losing data.” update 2: in a post titled, moving forward , larry jordan recommends editors take action to ensure that they have a migration path for legacy fcp projects. tags: fcp x , fcsvr 2 comments missing jet 2011.06.24 ( final cut pro ) one of the things i love most about final cut pro is the vibrancy and resourcefulness of the third-party ecosystem. it is comprised of clever folk who have dedicated themselves to providing the tools we use everyday to extend and enhance the core functionality of the pro apps. fcp was built this way by design and over the last 12 years third-party developers of all shapes and sizes have

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Domain Name: POSTPOST.TV
Registry Domain ID: 91470067_DOMAIN_TV-VRSN
Registrar WHOIS Server: whois.enom.com
Registrar URL: http://www.enom.com
Updated Date: 2018-01-21T09:00:49Z
Creation Date: 2010-02-04T21:48:08Z
Registry Expiry Date: 2019-02-04T21:48:08Z
Registrar: ENOM, INC.
Registrar IANA ID: 48
Registrar Abuse Contact Email:
Registrar Abuse Contact Phone:
Domain Status: clientTransferProhibited https://icann.org/epp#clientTransferProhibited
Name Server: NS1.SUPERWEBHOST.COM
Name Server: NS2.SUPERWEBHOST.COM
DNSSEC: unsigned
URL of the ICANN Whois Inaccuracy Complaint Form: https://www.icann.org/wicf/
>>> Last update of WHOIS database: 2018-01-30T17:58:38Z <<<

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  REGISTRAR ENOM, INC.

SERVERS

  SERVER tv.whois-servers.net

  ARGS postpost.tv

  PORT 43

  TYPE domain
RegrInfo
DOMAIN

  NAME postpost.tv

  CHANGED 2018-01-21

  CREATED 2010-02-04

STATUS
clientTransferProhibited https://icann.org/epp#clientTransferProhibited

NSERVER

  NS1.SUPERWEBHOST.COM 208.92.161.18

  NS2.SUPERWEBHOST.COM 104.128.69.114

  REGISTERED yes

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