What's inside the 315 pages?

• Important Viewing Information
  How to best view Issue #4 of SuperMag on the iPad with GoodReader for iPad and on Mac and PC with Adobe Acrobat Reader 9 or above.
• Our World is Now Bigger
  by Daniel Berube
  Our world is now bigger. We are all working better with the tools that we have with Final Cut.
• Planting a SuperMeet Flag In Austin
  by Cyntia Stein
  As the leader of the CUTS Austin Final Cut Pro User Group and a regular attendee of the Vegas SuperMeet every year, I was asked to be the "boots on the ground" for the planning phase to put together a social gathering that felt right as part of SXSW.
• Apple's FCP and the Art of Storytelling
  by Rodney Mitchell
  There's a secret to becoming a great creative editor. Do you know what it is? It is at the heart of what humans have done since the dawn of time. Now that I have you thinking, lets look back to see why we have a responsibility in the creative process to develop the secret that we all know exist.
• 20 Filmmaking Lessons/10 Director Tips
  by Anthony Artis • Pete Chatmon
  These lessons carved out from our various experiences in the filmmaking trenches are merely the tip of the iceberg, but ask anybody on the Titanic and they'll tell you it's the tip of the iceberg that sinks the ship. And it's just as often the mentally unprepared filmmaker keeps him or herself from reaching goals.
• 7 Steps To An Efficient NLE Workflow
  by Jim Kanter
  Now that the project is ready, there are 7 steps to working most efficiently. Although the instructions that follow are for FCP, you can use this workflow with most non-linear editing applications.
• The Ideal Editor's Suite
  by Tina Lung
  What is the best way to set up your new office space as the ideal editor's suite? Follow these steps and you just might be able to transform your blank slate to a room of all editors' envy.
• Why Do I Need a RAID? And Why Should I Build My Own?
  by Ben King
  So, you've bought a new Mac with Final Cut Pro, or maybe you've got an old edit system with single Hard Disk Drive (HDD) as your media storage. You haven't had any real issue with digitising or playback, so why do you need a RAID?
• Becoming an Avid Final Cut Pro User: Survival Tips for Avid Editors in FCP
  by Stephen Kanter
  Sometimes you just want Final Cut Pro to behave like an Avid, and rather than teach editors to ignore their sense memories and instincts, here are numerous instances where I encourage them to make Final Cut conform to their techniques, rather than the other way around.
• Documenting IFAW's Haiti Earthquake Response
  by J.C. Bouvier
  Our work in Haiti was some of the most exciting in recent memory, and we learned a lot about disaster documentary workflow, social media, and other aspects of visual communication from the field.
• Dr. Deadline or How I Learned to Stop Worrying and Love Final Cut Studio
  by Dmitry Larionov
  While working on my recent project I found myself put itno very strict conditions. Because of severe financial limitations the only software that I could use to do the job was Final Cut Studio. Only. Well, that'd be a nice challenge, I told myself and jumped in.
• Automagic Transcription for Everybody
  by Loren Miller
  Value & XML Workflow from Adobe CS4 speech-to-text to Word, Excel or Final Cut Pro via Intelligent Assistance's Transcriptize tool.
• The Keys to the Kingdom
  by Michael Wohl
  What makes an editor a power user? It's not just about memorizing the ins and outs of the software – it's about using it efficiently and effectively.
• The Montage Format Challenge
  by Diana Weynand
  In storytelling, the montage can be an editor's best friend. Using different video and audio combinations, you can use a montage to fill in gaps bringing a sequence to a desired length. However, if your montage consists of still images cut to a music track, which is frequently the case, you could get yourself into format trouble if you don't take certain precautions.
• PING! A New Media Arts Project Using Sonar Scan Imagery Inspires GPS Zoom Control Software
  by Barbara Keating
  This work will be an interactive, touring installation. The collaborators are Barbara Keating and Sam Keating, with Red One footage from James MacAleer It is set on the River Tyne in the North East of the UK.
• How the iPad Will Revolutionize Your Workflow
  by Taz Goldstein
  Just when I was convinced that the iPhone was the greatest filmmaking tool ever conceived, Apple changed the game again. On January 27th, 2010, Jobs introduced the iPad. And this time, I'm CERTAIN it was intended just for film and video makers. Don't believe me? Allow me to prove it.
• The Future of Post Production Editing
  by David Bigelow
  What does the television and cinema Post Production facility of the future look like? How is it different from the way we work today?
• Remote Field Editing with AJA KiPro
  by Deb Eschweiler
  This was an experiment, a proof-of-concept, as it were. Could it really be done? Could I really edit on Final Cut Pro 6.0.6 via iChat's Share Screen option on a system that is 1500 miles away?
• What really goes into a Camera Test
  by Gary Adcock
  As much as I am around new technology all the time, it still surprises me that many people think "miracle happens here" is an expected part of their production and post workflow. So I thought I would give a little behind-the-scenes look at what it takes to properly create and deliver a realistic and unbiased test of new camera technology.
• Canon EOS DSLR Workflow: Workflow Solutions When Shooting Video With Canon DSLRs
  by Philip Bloom
  Shooting HD Video on DSLRs snuck up on us in late 2008, but it wasn't until 2009 that I ventured into it myself.
• DSLR Audio Sync Issue Solved! And The Man Behind PluralEyes
  by GYULA (JULIAN) KAZÁRI
  Those who are working with DSLR cameras are well aware of their sound problems. Well, let's not call them problems, rather inconvenient factors to be dealt with in future. Canon listens to its users so future firmware updates should have better quality sound.
• Editing a Canon 5D Mark II Multicam Concert Shoot
  by Scott Simmons
  There's very real reasons why you wouldn't want to use any smallform-factor DSLRs (with no gen lock, timecode input or external monitoring) in a multicam production. But that doesn't mean that they can't get the job done.
• AVID AMA with XDCamHD and the Canon EOS 7D
  by Misha Tenenbaum
  Production from an editor's point of view: a guide for the Weekend Warrior.
• The Mundane and Magic Future of Metadata
  by Philip Hodgetts
  If you've entered descriptions, identified people's names in a clip note or entered any other logging information, you've worked with metadata. If you've worked with any form of transcription, again you've worked with metadata. Take the tedium out of editing to be creative.
• Using the Media Browser: 3 Different Ways this Premiere Pro panel can Make You Money
  by Karl Soule
  Most NLE's on the market today require transcoding tapeless media, or at least copying it to a hard drive before beginning the editing process. However, Premiere Pro is different.
• Aperture 3 for Filmmakers: Video Asset Management
  by Rob Chinn
  Final Cut Pro users have been asking for a video asset management tool for years. This article provides you with an overview of how you can use Aperture 3 in your filmmaking workflow.
• Shooting Stereoscopic 3D – A Beginners Guide
  by Tim Dashwood
  It's 2010 and 3D back in style, again, for the fourth time in 150 years. Will its popularity last this time? If the actions of TV manufacturers like JVC, Sony, Panasonic and Samsung are any indication the answer is a resounding "yes!"
• How to Create a Realistic 3D Camera Controlled Lens Flare With Knoll Light Factory
  by Michele Yamazaki and Andrew Embury
  As it always goes, plug-ins change quickly, so we thought we should make some use of this fine tutorial before a new version of Knoll Light Factory is released! Enjoy!
• Educational iPod Media for Kids
  by Monica Reina
  Most of us are Final Cut Pro editors by trade and we focus on the technology as a tool to get creative work done. But some of us are parents too and this same technology can be used to make a positive difference in our kids' lives.
• Making Videos Without a Video Camera
  by Steve Garfield
  Hey wait a minute, you don't even need a camera to make video for the Internet. You can record what's on your screen.
• Final Cut Server: What have you done for me lately?
  by Kevin Shea
  The concept of Final Cut Server is a simple one. If you do a little research and ponder the possibilities, you should come to the realization that Final Cut Server [FCSVR] can be just about anything to anyone. So, what is Final Cut Server to you?
  
• Stacking The Deck
  by Norman Hollyn
  It's pretty seductive having all of those tracks in Final Cut Pro, isn't it? You've heard Walter Murch talk about using 99 audio tracks, and you've seen the demos of editors who cut visual effects with their timelines stacked to the skies with video tracks. It's pretty cool, isn't it? But there are times to use all of those tracks and times that you shouldn't.
  
• Segment Freeze Frames in Final Cut Pro 7
  by Steve Martin
  Using Final Cut Pro 7's new Speed Segment dialogue, creating freezes is simple and your audio is never affected.
  
• Using and Creating Alpha Transitions for Final Cut Pro
  by Kevin Monahan
  As a member of Apple's Internal Editor team prior to the release of Final Cut Studio '09, I had the privilege of testing and developing Alpha Transitions early on. I hope the information you find in this article is helpful for understanding how to use and create your own Alpha Transitions.
  
• Soundtrack Pro In Your Workflow
  by Jeff Greenberg
  Look, I get it. You're doing just great with FCP. You have a grasp on sound, but STP really feels like a hassle. You can do most of what you need to do in FCP. Plus, STP is just going to slow you down, right? Read on...
  
• Managing Audio Layers in FCP for Final Mixing
  by Isazaly Mohd Isa
  MANAGEMENT & ACCESSIBILITY. These two points actually apply to everything you do in Final Cut Pro. Without proper management of files or even folders (even within the Browser), you'll probably end up searching for "a needle in a haystack." This is the key to being an FCP "power-user." And these next few steps can help you achieve a timeline that is manageable and accessible for the final mixing stage.
  
• Think Different in Apple Color
  by Steve Hullfish
  For many, trying to use Apple Color seems a little daunting. It has the feel of UNIX and lots of controls that look and act differently than anything you've seen on a Mac, but the program is actually very easy to use. But even those who have spent quite a bit of time using Color may not have found the tip I'm about to reveal that is based on a technique I learned from Hollywood's top gun colorists.
  
• Making Video Look More Like Film
  by Larry Jordan
  Nothing starts a bar fight faster than expressing an opinion about how to make video look like film. But, I recently presented this topic at the Broadcast Video Expo in London to three standing-room only crowds. So, I figure there is some interest in this topic. Allow me to share my thoughts.
  
• Autodesk Smoke 2010 for Mac OS X: First Impressions
  by Dmitry Larionov and Zsolt Bezdan
  A week ago our 30-day trial license for Autodesk's new Smoke 2010 for Mac OS X ended. Here's our first impressions from playing around with it from the point of view of FCP/Avid editors who also do some compositing from time to time.
  
• Stereo Workflow between FCP & Smoke 2011
  by Erwan Le Cloirec
  Smoke 2011 has several new features, one of them is Stereoscopic workflow. In this article, I will show you how to manage stereo footage in FCP and send them to Smoke 2011 in order to create a stereo project, along with some examples of stereo-effects you can create with Smoke 2011.
  
• DroboPro: SOHO Storage Made Easy
  by Brian Gary
  Outside of large post-houses, editors must now become their own IT departments. Managing large amounts of online, near-line and archived media is fast becoming a requisite skill, vis-à-vis the hardware resources required to handle professional work. So that means all levelof editors and preditors (producer/editors) will need to manage an ever-increasing mass of ones and zeros that have no tape corollary.
  
• Get the RED Out! RED 4K Export Workflow for DVD, YouTube & Vimeo
  by Noah Kadner
  In this article we'll look at how to prepare RED 4K footage for DVD and online output.
  
• New to Blu? AVCHD is for you!
  by Bruce Nazarian
  If you have been thinking about making Blu-ray Discs, but haven't yet invested in expensive Blu-ray Disc authoring software, or even a Blu-ray Disc burner, creating AVCHD discs on DVD-R using Final Cut Pro 7 is a great way to begin!
  
• What Will Be the Biggest Change in Digital Video Over the Next Two Years?
  by Josh Mellicker
  OI've been fortunate to be at the forefront of the major digital media revolutions, from desktop publishing and digital audio to web publishing and digital video. I'm fascinated with trends, tipping points, and quantum leaps in media technology that pave the way for changes across the entire spectrum of human life; from business and economics to art and culture. Now, let's peer into the digital video crystal ball.
  
• Self-Distributing Your Movie
  by Noah Kadner
  Noah Kadner shares tips and tricks on getting distribution for your indie movie from his 7 year experience with his movie, Formosa.
  
• Updated FCPUG Network Listing
  Connect with a Final Cut Pro User Group in YOUR part of the world.
  
• Apple Authorized Training Center Locations