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2009 FCPUG SuperMag Issue No. 3 (PDF Edition)

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2009 FCPUG SuperMag Issue No. 3

What's inside the 171 pages?

  • We are Community by Daniel Berube
    We are the heart of our industry. We are the global community and are not only witnessing change/evolution, we are guiding it.
  • Taking the SuperMeet Global by Michael Horton
    In January of 2007 just after the 6th Annual Macworld SuperMeet in San Francisco, Dan Berube and I sat down and decided to take the SuperMeet global.
  • Shooting in HD and Editing in SD: Killer Tricks to Make Your Show Sizzle by Abba Shapiro
    The industry is buzzing over Blu-ray DVDs and high def transmissions, however most users will be watching your programs on standard def DVD player, maybe with up conversion to an HDTV, or on their laptops.
  • Ten Years of Final Cut Pro by Rick Young
    Way back in 1999 Apple unleashed a tidal wave at the post-production scene. I doubt anyone in Apple marketing realized just how big this wave was going to be– it changed everything in the world of editing, and it has never been the same.
  • The FCP Generation–All Grown Up by Merethe Rosvold
    It’s safe to say that for the last decade, Final Cut Pro has been making steady inroads into the world of professional editing. Supposedly, around 49 percent of the market uses Final Cut Pro today, which makes it the main contender to the industry giant, Avid.
  • How to use Media Manager to Archive your Projects by Larry Jordan
    I am not a fan of Media Manager. In fact, in my classes I actively counsel against its use because it has the ability to permanently delete, destroy, or otherwise mangle your files. Especially if you overlook a critical check-box or two.
  • How to Import FCP Projects into Adobe Production Premium by Karl Soule
    People who prefer to edit in other applications have been left out of the integration party until very recently. With the introduction of Premiere Pro 4.01, Premiere Pro can be used as an importer of Final Cut Pro project files...
  • Final Cut Synergy: Project Sharing in Final Cut Pro by Stephen Kanter
    Simply put, Avid is designed to share projects, whereas Final Cut Pro is not. For some shows dependent on a collaborative work- flow, not being able to share projects in Final Cut Pro isn’t just inconvenient, it’s a deal breaker.
  • The Ghost in the Palace by Phil Ashby
    By the time you’ve read this article, there will probably be another couple of codecs slipped in through the side gate.
  • The 21st Century Pen: Remapping the Arctic with Digital Cinema by Jennifer A. Smith
    From a 400 square-foot cottage on Alaska’s Barter Island, filmmaker Arthur C. Smith III carved an icy niche on the northern edge of North America.
  • Make Multiclip Sequence: A Hidden Gem in FCP by Alexander Snelling
    A lot of FCP users are probably familiar with the amazing functionality of Multiclip in FCP. When I edited the Sex Pistols’ 30th Anniversary concerts at Brixton Academy last year, I had to go deep into Multiclip and found a mountain of spices.
  • Color Correction in FCP or Apple Color by Jamie Hitchings
    A large part of your post production end game should be dedicated to color correction. Achieving the right look in Final Cut Studio can be done either in Final Cut Pro or in Color, depending on what needs to be done, your level of comfort, and your turnaround time.
  • Final Cut Server: One FCP Workflow for Starters by Aidria Astravas
    While Final Cut Server (FCSVR) may seem intimidating to the average editor, once set up by the right person, editors and producer’s workflows can be critically easier.
  • Sony XD Cam EX Workflow and Final Cut Studio by Ned Soltz
    Considering buying a Sony EX-1 or EX-3? Debating the move from a tape to tapeless workflow? Or are you an editor just handed XDCAM EX files and wondering what to do with them?
  • AVCHD Editing Workflow for Final Cut Pro by David Saraceno
    The HMC150 holds its end of the bargain by producing stunning AVCHD footage. However, editing native AVCHD in real time isn’t a reality in any video editing application, despite marketing claims to the contrary.
  • It’s Not Just the Camera: A Mash of Thoughts on Production and Post by Jem Schofield
    My first-ever DVD authoring project was the beginning of my journey into the world of video production. I had just bought the first Mac tower that shipped with a SuperDrive (the 733MHz Power Mac G4), and a copy of DVD Studio Pro 1.0.
  • Making Home Movies (The Secret Agent Method) by Mónica Reina-Kadner
    I’ve lived in Mexico City my whole life, but I love to travel. I also love to take pictures and when I can, video. But I like to travel as light as possible and I needed a camera that’s so small I’d never want to leave it behind. With all that in mind, I set out to find the kind of camera that would satisfy not only a Final Cut Pro user like me, but also a secret agent!
  • How to Build an Audience for your Independent Production by Phil Hodgetts
    Traditionally, distribution of a film or television project was someone else’s problem. The producer created the project and handed it off to a distributor–if they were lucky enough to win the distribution lottery. The sad reality here is that less than .05% of the films submitted to the Sundance Festival actually obtain distribution deals.
  • Using Shapes in Motion by Jim Kanter
    It is easy to create, modify and animate vector shapes in Motion. They can be used to add elements to a design or as masks. You can import shapes from other applications but creating them in Motion gives you the most control and versatility.
  • Flying Photo in After Effects with Trapcode Particular by Rob Birnholz
    Like any effect in Final Cut Pro or After Effects, there are several methods to create the look, either manually or with help from a third party. There’s one technique using Trapcode Particular that I rely on time and again.
  • Are these images too bright or is it just me? by Tina Lung
    Have you ever run into the situation where you are importing images from a PC into Final Cut Pro, but they look too bright? You are then spending a long time correcting them manually.
  • The DPI Myth Explained by Ben King
    Over the years I have worked across the whole media industry from print design through all digital media to film and there is one thing that crops up time and time again on forums or questions from producers/directors/production managers. That is “What DPI do I use?” or more infuriatingly “What DPI is video?”
  • Your Keyboard Galaxy by Loren Miller
    What to do when FCP command mapping needs a boost. How to match-map Avid and Final Cut Pro key commands
  • Bento: Your FCP Media Library by Christopher Phrommayon
    You’ve decided to take a break from your Final Cut Pro system, and you’re on your first vacation in months. Since you can’t entirely leave your inner geek at home, your spouse let you bring your mini camcorder and a MacBook, because some of your vacation planning was saved in Bento. However, while on vacation, no editing allowed!
  • Excerpt: Fast Path to Blu-ray Disc by Bruce Nazarian
    This quick tutorial will show you how a modest investment in software will enable you to create your first Blu-ray Disc project even if you don’t have a Blu-ray Disc burner! As a bonus, it will also allow you to use BD-R media for archiving and backup once you have a suitable Blu-ray Disc burner.
  • Bullet-Proofing Your Editing System by Jeff Greenberg
    Entropy is one of the basic rules of the universe. Anything with moving parts breaks. Make that everything. Your editing system
    will eventually act up. It’ll never be a convenient time. It’s always going to be at the worst time, right before a job is finished. All you can do is try and prepare for this inevitability.
  • I Ain’t Hollywood: Is RED One Right for Me? by Steve Sherrick
    So, I have some projects coming up that I’m interested in exploring to see if RED One is a good fit. It seems like every trade magazine I pick up either has the camera on the cover or at the very least, an article inside. It’s very hard to miss RED Digital Cinema these days.
  • Beat the House: An instant Editing method for RED Footage with FCP by Noah Kadner
    The RED One is a challenging camera to shoot with in terms of manual focus, exposure and the like, but it’s even more complex in post-production.
  • Amateur vs. Preditor: Whoever Wins–We Lose by Keith Larsen
    Every time we are told that we are in a recession, I do better. Our business is never affected by bad times.
  • The Silver Lining by Jeff Rothberg
    It is hard to avoid the day-to-day pessimism that pervades all forms of digital communications. Continued stories of massive layoffs, downsizing and revised profit projections are all too familiar an occurrence.
  • Apple Authorized Training Center Locations


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