After months of editing with FCP X, I am still aware of the ‘missing tracks’ but now, instead of driving a car, (bear with me, I am jumping metaphors) it feels more like skiing or surfing. There’s a freedom, a flexibility. Now, ‘tracks’ seem out of place.

If you think this sounds like flowery hyperbole, you may be right. It’s hard to think of ways to convey feelings about software. So, I am merely trying to express the small sense of elation that I felt when I realized the upside of losing my trusted track framework. I felt encouraged to experiment more. I felt slightly liberated in my timeline edits. For someone who grinds away in editing interfaces day after day, year after year, for more than a decade, this was a notable change. There is something new here; a different way to edit.

—Philip Bloom.net | Read the Full Article

Once again, Apple has launched a minor number update to its professional video-editing software, Final Cut Pro X, with some major feature adds. The non-linear editing program was initially launched to protests by the pro-editing community, but Version 10.0.3 addresses nearly all of the remaining criticisms of the post-production tool, adding multicam support, external broadcast monitoring (still a beta feature), and detailed chroma-key controls. And perhaps the biggest criticism—the lack of an upgrade path for projects built into previous Final Cut versions—has now been addressed by a third-party plugin called 7toX, from Intelligent Assistance.

The free program update and the 7toX transfer plugin ($9.99) will be available on the Mac App Store starting today.
Other new features include a more-detailed XML 1.1 import/export format with support for effect parameters and audio keyframes, manual media relinking, and the ability to import and edit layered Photoshop graphics.

— PC Mag | Read the Full Article

Yeah, I cited PC Magazine… How do you like them Apples?

Mullholland Drive:

The open-ended narrative of Mulholland Drive, coupled with Lynch’s surreal technique, lends this movie a hallucinatory quality. It makes this scene even more jarring because Lynch’s use of music is so beautiful. At a pivotal point in the film, lovers Betty and Rita visit the ghostly, near-empty Club Silencio. A performer announces “No hay bander”: there is no band. And yet we hear one. Then Rebekah Del Rio performs her Spanish, a cappella version of Roy Orbison’s Crying (renamed Llorando). I have watched this film more times than I’d ever care to admit but Del Rio’s voice, a cloudburst of emotion, always knocks the wind out of me. Any further description of what happens would spoil it for those (shame on you) who haven’t seen it.

— TheGuardian | Read the Full Article

The discussion on the server starts around 1:20