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Final Cut Pro X announced at NAB

from Adam N @fcpsupermeet

Apple just announced that Final Cut Pro is getting a “rebuilt from the ground up, new release”.

64-bit. Background rendering.  Some nifty metadata features.  And my favorite so far, from the live blog at Photography Bay.

10:24: Magnetic timeline.  If you slide a clip down the timeline, long clips (i.e., secondary audio) won’t collide with other clips. The other clips will drop down to a new drag and nothing is pushed out of sync.

And the crowd goes wild.  My #1 annoyance of old FCP.

No release date yet, but there will be one billion articles on this by tomorrow AM, I’m sure.

Really debated going to NAB this year, but needed to buy a camera rig instead.  Would have been fun to be there, though.


$299. Out in June. I love you already and haven’t even met you yet.


They killed the Flip! You bas….oh nvm

Cisco announced today that it would discontinue the Flip camera line

Cisco announced in a press release today that they were shutting down the Flip camera line.

I felt a sentimental tug for about 30 seconds.

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Nikon Releases D5100 DSLR

The just-released Nikon D5100 DSLR

Not going to make it a habit to write about DSLR’s until I feel completely comfortable talking about them, but I’m going to make an exception here because I like Nikon cameras and this one has some really neat features. So I was geeked when I saw the Nikon release come across my Twitter feed about an hour ago.
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GOPANO Micro – 360 Video On iPod4

GOPANO Micro from Eyesee360.

Came across this last night and wanted to share — because I think it’s a really cool idea.

The GOPANO Micro is a lens that attaches to your iPod4 and lets you take 360 degree video.  I’ve seen and used similar products from the Eyesee360 guys and it’s just a really cool way to capture images.

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Hey Look! Our cameras are famous!

Ikegami HDK-77EC

Little article on the cameras that we chose for the CONSOL.

If you’ve been to a game, you might notice that the “game wide” shot on the scoreboard is a lot tighter than what you see on TV.  That’s by design.  Great move by Rod Murray (Sr. Director Production & Entertainment) to do this.  Why go for a big wide shot when that action is right in front of you?  So we’re using our own cameras for the main scoreboard feed, and we’re shooting much tighter than you’ll see on the nets.

The Ikegami cameras have been great for us.  As I said in the article I was completely blown away when I saw it during the shootout.

Have to say I’m most impressed with the model we’re using on the center scoreboard robotic.  Every time you see this shot picked up on any network game from CONSOL, it’s coming from our camera.  It was part of the initiative to deliver more feeds to the broadcast trucks to ensure we were getting A-game coverage and allow them to put their resources to other enhancements.

Dead sexy

Speaking of cameras, as I predicted the network have gravitated to the center positions (twice as many as Mellon) and have done less of the “slash” cameras.  The slash cameras are located near the corners on the main and and upper concourse.  At Mellon, those positions were full every game due to the lack of overall positions in the building.  While these cameras are decent enough angles, many times you end up with the netting obstructing the shot.  So we’re seeing more of the isolation cameras clear and unobstructed for the tight follow shots.

Oh, and there’s no auto-focus on these. You think for the money…

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