Tag Archives: FCPX

Review: Apple’s new MacBook Pro

By Brady Betzel

What do you need to know about the latest pro laptop from Apple? Well, the MacBook Pro is fast and light; the new Touch Bar is handy and sharp but not fully realized; the updated keys on the keyboard are surprisingly great; and working with ProRes QuickTime files in resolutions higher than 1920×1080 inside of FCP X, or any NLE for that matter, is blazing fast.

When I was tasked with reviewing the new MacBook Pro, I came into it with an open mind. After all, I did read a few other reviews that weren’t exactly glowing, but I love speed and innovation among professional workstation computers, so I was eager to test it myself.

I am pretty open-minded when it comes to operating systems and hardware. I love Apple products and I love Windows-based PCs. I think both have their place in our industry, and to be quite honest it’s really a bonus for me that I don’t rely heavily on one OS or get too tricked by the Command Key vs. Windows/Alt Key.

Let’s start with the call I had with the Apple folks as they gave me the lowdown on the new MacBook Pro. The Apple reps were nice, energetic, knowledgeable and extremely helpful. While I love Apple products, including this laptop, it’s not the be-all-end-all.

The Touch Bar is nice, but not a revolution. It feels like the first step in an evolution, a version 1 of an innovation that I am excited to see more of in later iterations. When I talked with the Apple folks they briefed me on what Tim Cook showed off in the reveal: emoji buttons, wide gamut display, new speakers and USB-C/Thunderbolt 3 connectivity.

NLEs
They had an FCPX expert on the call, which was nice considering I planned on reviewing the MacBook Pro with a focus on the use of nonlinear editing apps, such as Adobe Premiere Pro, Avid Media Composer and Blackmagic’s Resolve. Don’t get me wrong, FCPX is growing on me — it’s snappy jumping around the timeline with ProRes 5K footage; assigning roles are something I wish every other app would pick up on; and the timeline is more of a breeze to use with the latest update.

The other side to this is that in my 13 years of working in television post I have never worked on a show that primarily used FCP or FCPX to edit or finish on. This doesn’t mean I don’t like the NLE, it simply means I haven’t relied on it in a professional working environment. Like I said, I really like the road it’s heading down, and if they work their way into mainstream broadcast or streaming platforms a little more I am sure I will see it more frequently.

Furthermore, with the ever-growing reduction in reliance on groups of editors and finishing artists apps like FCPX are poised to shine with their innovation. After all that blabbering, in this review I will touch on FCPX, but I really wanted to see how the MacBook Pro performed with the pro NLEs I encounter the most.

Specs
Let’s jump into the specs. I was sent a top-of-the-line 15-inch MacBook Pro with Touch Bar, which costs $3,499 if configured online. It comes with a quad/-core Intel Core i7 2.9GHz (up to 3.8 GHz using Turbo Boost) processor, 16GB of 2133MHz memory, 1TB PCI-e SSD hard drive and Radeon Pro 460 with 4GB of memory. It’s loaded. I think the only thing that can actually be upgraded beyond this configuration would be to include a 2TB hard drive, which would add another $800 to the price tag.

Physically, the MacBook Pro is awesome — very sturdy, very thin and very light. It feels great when holding it and carrying it around. Apple even sent along a Thunderbolt 3 (USB-C) to Thunderbolt 2 adapter, which costs an extra $29 and a USB-C to Lightning Cable that costs an extra $29.

So yes, it feels great. Apple has made a great new MacBook Pro. Is it worth upgrading if you have a new-ish MacBook Pro at home already? Probably not, unless the Touch Bar really gets you going. The speed is not too far off from the previous version. However, if you have a lot of Thunderbolt 3/USB-C-connected peripherals, or plan on moving to them, then it is a good upgrade.

Testing
I ran some processor/graphics card intensive tests while I had the new MacBook Pro and came to the conclusion that FCPX is not that much faster than Adobe Premiere Pro CC 2017 when working with non-ProRes-based media. Yes, FCPX tears through ProRes QuickTimes if you already have your media in that format. What about if you shoot on a camera like the Red and don’t want to transcode to a more edit-friendly codec? Well, that is another story. To test out my NLEs, I grabbed a sample Red 6K 6144×3160 23.98fps clip from the Red sample footage page, strung out a 10-minute-long sequence in all the NLEs and exported both a color-graded version and a non-color-graded version as ProRes HQ QuickTimes files matching the source file’s specs.

In order to work with Red media in some of the NLEs, you must download a few patches: for FCPX you must install the Red Apple workflow installer and for Media Composer you must install the Red AMA plug-in. Premiere doesn’t need anything extra.

Test 1: Red 6K 6144×3160 23.98fps R3D — 10-minute sequence (no color grade or FX) exported as ProRes HQ matching the source file’s specs. Premiere > Media Encoder = 1 hour, 55 minutes. FCPX = 1 hour, 57 minutes. Media Composer = two hours, 42 minutes (Good news, Media Composer’s interface and fonts display correctly on the new display).

You’ll notice that Resolve is missing from this list and that is because I installed Resolve 12.5.4 Studio but then realized my USB dongle won’t fit into the USB-C port — and I am not buying an adapter for a laptop I do not get to keep. So, unfortunately, I didn’t test a true 6K ProRes HQ export from Resolve but in the last test you will see some Resolve results.

Overall, there was not much difference in speeds. In fact, I felt that Premiere Pro CC 2017 played the Red file a little smoother and at a higher frames-per-second count. FCPX struggled a little. Granted a 6K Red file is one of the harder files for a CPU to process with no debayer settings enabled, but Apple touts this as a MacPro semi-replacement for the time being and I am holding them to their word.

Test 2: Red 6K 6144×3160 23.98fps R3D — 10-minute color-graded sequence exported as ProRes HQ matching the source files specs. Premiere > Media Encoder = one hour, 55 minutes. FCPX = one hour, 58 minutes. Media Composer = two hours, 34 minutes.

It’s important to note that the GPU definitely helped out in both Adobe Premiere and FCPX. Little to no extra time was added on the ProRes HQ export. I was really excited to see this as sometimes without a good GPU — resizing, GPU-accelerated effects like color correction and other effects will slow your system to a snail’s pace if it doesn’t fully crash. Media Composer surprisingly speed up its export when I added the color grade as a new color layer in the timeline. By adding the color correction layer to another layer Avid might have forced the Radeon to kick in and help push the file out. Not really sure what that is about to be honest.

Test 3: Red 6K 6144×3160 23.98fps R3D — 10-minute color-graded sequence resized to 1920×1080 on export as ProRes HQ. Premiere > Media Encoder = one hour, 16 minutes. FCPX = one hour, 14 minutes. Media Composer = one hour, 48 minutes. Resolve = one hour, 16 minutes

So after these tests, it seems that exporting and transcoding are all about the same. It doesn’t really come as too big of a surprise that all the NLEs, except for Media Composer, processed the Red file in the same amount of time. Regardless of the NLE, you would need to knock the debayering down to a half or more to start playing these clips at realtime in a timeline. If you have the time to transcode to ProRes you will get much better playback and rendering speed results. Obviously, transcoding all of your files to a codec, like ProRes or Avid DNX, takes way more time up front but could be worth it if you crunched for time on the back end.

In addition to Red 6K files, I also tested ProRes HQ 4K files inside of Premiere and FCPX, and both played them extremely smoothly without hiccups, which is pretty amazing. Just a few years ago I was having trouble playing down 10:1 compressed files in Media Composer and now I can playback superb-quality 4K files without a problem, a tremendous tip of the hat to technology and, specifically, Apple for putting so much power in a thin and light package.

While I was in the mood to test speeds, I hooked up a Thunderbolt 2 SSD RAID (OWC Thunderbay 4 mini) configured in RAID-0 to see what kind of read/write bandwidth I would get running through the Apple Thunderbolt 3 to Thunderbolt 2 adapter. I used both AJA System Test as well as the Blackmagic Disk Speed Test. The AJA test reported a write speed of 929MB/sec. and read speed of 1120MB/sec. The Blackmagic test reported a write speed of 683.1MB/sec. and 704.7MB/sec. from different tests and a read speed of 1023.3MB/sec. I set the test file for both at 4GB. These speeds are faster than what I have previously found when testing this same Thunderbolt 2 SSD RAID on other systems.

For comparison, the AJA test reported a write speed of 1921MB/sec. and read speed of 2134MB/sec. when running on the system drive. The Blackmagic test doesn’t allow for testing on the system drive.

What Else You Need to Know
So what about the other upgrades and improvements? When exporting these R3D files I noticed the fan kicked on when resizing or adding color grading to the files. Seems like the GPU kicked on and heated up which is to be expected. The fan is not the loudest, but it is noticeable.

The battery life on the new MacBook Pro is great when just playing music, surfing the web or writing product reviews. I found that the battery lasted about two days without having to plug in the power adapter. However, when exporting QuickTimes from either Premiere or FCPX the battery life dropped — a lot. I was getting a battery life of one hour and six minutes, which is not good when your export will take two hours. Obviously, you need to plug in when doing heavy work; you don’t really have an option.

This leads me to the new USB-C/Thunderbolt 3 ports — and, yes, you still have a headphone jack (thank goodness they didn’t talk with the iPhone developers). First off, I thought the MagSafe power adapter should have won a Nobel Peace Prize. I love it. It must be responsible for saving millions of dollars in equipment when people trip over a power cord — gracefully disconnecting without breaking or pulling your laptop off the table. However, I am disappointed Apple didn’t create a new type of MagSafe cable with the USB-C port. I will miss it a lot. The good news is you can now plug in your power adapter to either side of the MacBook Pro.

Adapters and dongles will have to be purchased if you pick up a new MacBook Pro. Each time I used an external peripheral or memory card like an SD card, Tangent Ripple Color Correction panel or external hard drive, I was disappointed that I couldn’t plug them in. Nonetheless, a good Thunderbolt 3 dock is a necessity in my opinion. You could survive with dongles but my OCD starts flaring up when I have to dig around my backpack for adapters. I’m just not a fan. I love how Apple dedicated themselves to a fast I/O like USB-C/Thunderbolt 3, but I really wish they gave it another year. Just one old-school USB port would have been nice. I might have even gotten over no SD card reader.

The Touch Bar
I like it. I would even say that I love it — in the apps that are compatible. Right now there aren’t many. Adobe released an update to Adobe Photoshop that added compatibility with the Touch Bar, and it is really handy especially when you don’t have your Wacom tablet available (or a USB dongle to attach it). I love how it gives access to so many levels of functionality to your tools within your immediate reach.

It has super-fast feedback. When I adjusted the contrast on the Touch Bar I found that the MacBook Pro was responding immediately. This becomes even more evident in FCPX and the latest Resolve 12.5.4 update. It’s clear Apple did their homework and made their apps like Mail and Messages work with the Touch Bar (hence emojis on the Touch Bar). FCPX has a sweet ability to scrub the timeline, zoom in to the timeline, adjust text and more from just the Touch Bar — it’s very handy, and after a while I began missing it when using other computers.
In Blackmagic’s latest DaVinci Resolve release, 12.5.4, they have added Touch Bar compatibility. If you can’t plug in your color correction panels, the Touch Bar does a nice job of easing the pain. You can do anything from contrast work to saturation, even adjust the midtones and printer lights, all from the Touch Bar. If you use external input devices a lot, like Wacom tablets or color correction panels, the Touch Bar will be right up your alley.

One thing I found missing was a simple application launcher on the Touch Bar. If you do pick up the new MacBook Pro with Touch Bar, you might want to download Touch Switcher, a free app I found via 9to5mac.com that allows you to have an app launcher on your Touch Bar. You can hide the dock, allowing you more screen real estate and the efficient use of the Touch Bar to launch apps. I am kind of surprised Apple didn’t make something like this standard.

The Display
From a purely superficial and non-scientific point of view, the newly updated P3-compatible wide-gamut display looks great… really great, actually. The colors are rich and vibrant. I did a little digging under the hood and noticed that it is an 8-bit display (data that you can find by locating the pixel depth in the System Information > Graphics/Display), which might limit the color gradations when working in a color space like P3 as opposed to a 10-bit display displaying in a P3 color space. Simply, you have a wider array of colors in P3 but a small amount of color shades to fill it up.

The MacBook Pro display is labeled as 32-bit color meaning the RGB and Alpha channels each have 8 bits, giving a total of 32 bits. Eight-bit color gives 256 shades per color channel while 10-bit gives 1,024 shades per channel, allowing for much smoother transitions between colors and luminance values (imagine a sky at dusk going smoothly from an orange to light blue to dark blue — the more colors per channel allows for a smoother gradient between lights and darks). A 10-bit display would have 30-bit color with each channel having 10 bits.

I tried to hook up a 10-bit display, but the supplied Thunderbolt 3 to Thunderbolt 2 dongle Apple sent me did not work with the mini display port. I did a little digging and it seems people are generally not happy that Apple doesn’t allow this to work, especially since Thunderbolt 2 and mini DisplayPort are the same connection. Some people have been able to get around this by hooking up their display through daisy chaining something like a Thunderbolt 2 RAID.

While I couldn’t directly test an external display when I had the MacBook Pro, I’ve read that people have been able to push 10-bit color out of the USB-C/Thunderbolt 3 ports to an external monitor. So as long as you are at a desk with a monitor you can most likely have 10-bit color output from this system.

I reached out to Apple on the types of adapters they recommend for an external display and they suggest a USB-C to DisplayPort adapter made by Aukey. It retails for $9.99. They also recommend the USB-C to DisplayPort cable from StarTech, which retails for $39.99. Make sure you read the reviews on Amazon because the experience people have with this varies wildly. I was not able to test either of these so I cannot give my personal opinion.

Summing Up
In the end, the new MacBook Pro is awesome. If you own a recent release of the MacBook Pro and don’t have $3,500 to spare, I don’t know if this is the update you will be looking for. If you are trying to find your way around going to a Windows-based PC because of the lack of Mac Pro updates, this may ease the pain slightly. Without more than 16GB of memory and an Intel Xeon or two, however, it might actually slow you down.

The battery life is great when doing light work, one of the longest batteries I’ve used on a laptop. But when doing the heavy work, you need to be near an outlet. When plugged into that outlet be careful no one yanks out your USB-C power adapter as it might throw your MacBook Pro to the ground or break off inside.

I really do love Apple products. They typically just work. I didn’t even touch on the new Touch ID Sensor that can immediately switch you to a different profile or log you in after waking up the MacBook Pro from sleep. I love that you can turn the new MacBook Pro on and it simply works, and works fast.

The latest iteration of FCPX is awesome as well, and just because I don’t see it being used a lot professionally doesn’t mean it shouldn’t be. It’s a well-built NLE that should be given a fairer shake than it has been given. If you are itching for an update to an old MacBook Pro, don’t mind having a dock or carrying around a bunch of dongles, then the 2016 MacBook Pro with the Touch Bar is for you.

The new MacBook Pro chews through ProRes-based media from 1920×1080 to 4K, 6K and higher will play but might slow down. If you are a Red footage user this new MacBook Pro works great, but you still might have to knock the debayering down a couple notches.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Apple updates FCPX, adds shared libraries, more

By Amy Leland

There exists within the post world a deep schism. On one side are those who use Final Cut Pro X, appreciate it for what it is, and want to know more about it. On the other side are those who see it as “iMovie Pro” and disdain all discussion on the topic. Full disclosure: I have always fallen firmly in the first camp.

When FCPX was first released in June of 2011, besides being a professional editor, I was also an Apple Certified Trainer (in FCP, Motion and Color), and out of necessity figured out this new product as quickly as possible to meet the demand of those wanting to know more. Along the way, I positioned it in my own work as my go-to tool for any of my independent freelance projects, and most recently for the feature documentary that I am directing and editing. I recognize that it isn’t the right tool for all editing jobs. But sometimes it is the best tool for an editing job.

interface-copyLast week I had the opportunity to attend a demo of the new FCPX 10.3. For those who are using it and others who have an open mind, there are some exciting new features and updates. I don’t think anything I say will sway the minds of those who decided long ago this product isn’t for professional editors and isn’t worth their time. And for those whose hesitation was, it’s too different, well it’s still different. It’s just a new different.

Audio
The thing that really stuck out to me was the streamlining of how audio works. There are both interface and under-the-covers changes to audio mixing and organization. The big news is the use of Roles, and how that applies to audio. FCPX introduced the idea of Roles in the very first update to the app just a few months after the initial release. Roles allowed for identifying types of audio in a way that would aid in multichannel exports and stems. But this version is the first to fully take advantage of them for streamlining the editing process.

There is now more comprehensive support for doing things like color-coding clips based on Roles for visual cues in the timeline. There is also a new concept called “audio lanes.” This is still the world of the magnetic timeline. I am a fan of the magnetic timeline, and that functionality is the biggest reason why my workflow in FCPX is typically far faster than it is in any other app. But it has always been a bit frustrating to get the audio beneath the magnetic timeline to make sense visually. Now, with audio lanes, audio in different roles can be displayed in distinct visual troughs (NOT tracks) that make it far easier to look at the timeline and see exactly what is there. With a single click, lanes can be turned off and on. The flexibility for display in different stages of the work process is fantastic.

The interface as a whole has also undergone the biggest overhaul it has had since the initial release. It looks, quite simply, cleaner. The color scheme has been flattened and darkened to allow the video content to take focus. Some onscreen controls have been moved to places that, upon reflection, do make more sense. Though having used the product for five years, I expect to have some moments of feeling a little disoriented while I get used to the changes. I look forward to seeing how the adjustments further streamline the process.

Motion
One change I am particularly excited about might seem like a small thing, but it will save me one of the biggest headaches I tend to experience in my FCPX work. I’m a big fan of custom Motion content. I create my own custom titles, transitions and effects for almost every project I do. I also use Motion publishing to bring effects specific to Motion into the FCPX interface. The only problem is that, up until now, all of that custom content lived in the Movies folder of the user library in the OS. There was no option to customize that location or store things elsewhere. More times than I can count, I would move a project from one hard drive to another, or consolidate a project to a portable drive to work on while traveling, and discover I’d left my custom Motion content behind. Those offline media icons made me nuts.

In 10.3, there is now a user preference for storing those custom Motion projects inside of an FCPX library. If the Motion project is specific to a particular FCPX project, I can store it in that project’s library. For things I have created to be more universal, I can now create a central library that can travel with any of the other work I’m doing. It’s a small change, but a really important one.

More
Many of the other changes, while relatively small details, are important ones. After years of user requests, we finally have selective “Remove Attributes.” (FINALLY!) FCPX will now also natively accept MXF-wrapped ProRes files. For those of us who go back and forth between editing systems, and do a lot of work in Avid, this will be a real time saver.

There is also a new effect in the FCPX effect library called “Flow,” a transition similar to the Fluid Morph in Avid or the Morph Cut in Premiere. I have to say, as I often experience with effects in FCPX and Motion, it just works…better. Unlike Avid where I often have to finesse the frame count to get it to work right, and then render before playback, this just drops in and works. I love it.

Shared Libraries
And finally, for those whose biggest hang-up about FCPX is shared media/project use, there is now support for shared libraries on SMB 3-compatible storage systems. There is also a new white paper out from Apple about managing the media and libraries that includes workflows for a shared storage environment. This is an aspect of the update I haven’t had the time to test fully myself. But the workflow outline in the white paper makes sense. It isn’t a fully shared work environment like opening bins from other projects in Avid. It seems more analogous to the Media Browser in Premiere, but this seems to have the potential to open up the idea of collaboration much better than before, and is something that I find pretty exciting. The “In Action” section of the FCPX website profiles a commercial post house in London called Trim Editing that is using this workflow. I imagine this won’t be enough to convince all of the skeptics. But it definitely feels like a big step in the right direction, and I look forward to working this way myself.

Summing Up
This is definitely a major update to an editing tool that was already more robust than it often gets credit for being. Those who are already on board should see a lot of good things here to reward their continued usage. Best of all, by releasing this major update as 10.3, and not as a new version 11, this update is a free one for anyone who already owns the app. That may be the best news of all.


Amy Leland is a filmmaker and editor in Brooklyn, New York, whose editing credits include Bravo, NFL Network and CBS Sports Network. She can be found on Twitter @amy_leland and on Instagram @la_directora.

TrackX powered by Mocha offers pro motion tracking tools for FCP X

Guildford, UK — Imagineer Systems, based here, and the creators of the Mocha Planar Tracking technology, along with Australia-based CoreMelt, a provider of advanced video plug-in effects, have released TrackX powered by Mocha. This is the latest Apple Final Cut Pro X (FCP X) plug-in to come out of the strategic partnership between Imagineer and CoreMelt.

TrackX powered by Mocha (http://www.imagineersystems.com/products/SliceX_TrackX, http://www.coremelt.com) uses the planar tracking technology (which won an Academy Award, BTW) to precisely track camera motion, objects and people for seamless visual effects and screen composites.

track_text01

“TrackX powered by mocha is a tremendous leap ahead in plug-in innovation for Final Cut Pro X,” comments Ross Shain, chief marketing officer, Imagineer Systems. “CoreMelt has taken Imagineer’s innovative Planar Tracking engine and added a simple-to-use plug-in interface, giving Final Cut Pro X editors a powerful, yet easy-to-use, set of tools to manage complex tracking projects with exacting precision. No need to leave the timeline or learn a complicated VFX program. The Final Cut user community will love the ability to create these advanced visual effects directly inside their favorite editor.”

Suited for creating realistic screen inserts, set extensions and sky replacements, TrackX powered by mocha lets FCP X editors easily track and replace objects within a video, such as an image on a cell phone, TV screen or sign, as well as add graphics and text, including lower-thirds, to follow objects in motion.

TrackX’s customizable parameters provide FCP X editors with controls to fine-tune translation, scale, rotation and perspective motion of text and video, eliminating the need to do manual keyframing. Mocha technology stays locked on through shaky, grainy and motion-blurred video.

“We’re excited to be able to take Imagineer’s leading mocha technology and make it available in such an affordable and easy-to-use package,” says Roger Bolton, CoreMelt founder and director. “CoreMelt is all about finding ways to bring high-end, complex tools to as many people as possible. With TrackX powered by Mocha, editors can now directly accomplish many tracking tasks that would have otherwise involved jumping into complex compositing software.”

TrackX powered by Mocha features three plug-ins:
• Simple Tracker: Instant tracking perfect for quick floating lower thirds or graphics following a person or object
• Track Layer: Advanced tracking with perspective shifts, surface mapping and masking capabilities
• Track Text: Includes a text generator that can track text with perspective and masking capabilities

TrackX powered by mocha is available now for $99. Users who have purchased SliceX powered by Mocha can purchase TrackX for a special upgrade price, $49. Purchase the SliceX / TrackX powered by mocha bundle for $149.