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title: WWDC2003 Session 002
framework: wwdc
role: article
path: wwdc/wwdc2003-002
---

# WWDC2003 Session 002

## Transcript

Kind: captions Language: en good morning glad to see people here this morning realize it's awfully early for for folks for nine o'clock in the morning particularly i'm sure i know a lot of people online last night playing with their ichat cameras and stuff so and all the new software I bet that folks are a rather tired I appreciate you coming here this morning so what we're going to be talking about today is if I can get this to work hello oh how cool we don't seem to have a remote okay what are we going to be talking about today is kind of changing the scope of what a lot of the other sessions are within in the conference typically you know you spend a lot of time digging down into various aspects of the system but today we're actually going to spend time focusing on the very very top stack of the architecture diagram and application this is the first time in fact that we've talked about applications at the developer conference and how developers can actually get involved and participate in the process of enhancing our application story Apple has a number of pro applications oh cool I appreciate well let's not make changes right now thank you Apple has a number of pro applications that we we currently have including Final Cut Pro which is our video editing suite shake 3 or compositing tool which is used for things like Lord of the Rings and The Matrix a magic for you know music creation DVD Studio Pro for DVD production and authoring and final cut express which is basically final cut video editing for DV in the prosumer space within those set of applications there's actually a number of opportunities available to you as a developer one area is in the scope of plugins the ability create filters and a X and other things for for video and for audio for each of these applications there's a number of plug-in opportunities and we'll talk more about that both a little bit later and in some of the other sessions in the hardware domain there's an opportunity for creating both video and audio i/o devices being able for multi-channel audio or for high-definition or standard definition video or video cards for dealing with video acceleration and being able to do things like real-time effects and such and in the content area which is a new area for us the ability to create audio loop libraries for soundtrack which is our looping application Nana may need fonts and textures and objects and another templates for our animation tools specifically livetype which I'll be talking about in a moment I want to spend a moment and talk a little bit about Final Cut Pro for Final Cut Pro fours now let's see a week in a couple of days old it just shipped a little bit ago and it's actually a suite of applications Final Cut Pro itself which is the video editing tool for being able to deal with everything from DV to standard definition high-definition film and a number of other applications that are now bundled with the app soundtrack which is an audio looping tool live type or text animation cinema tools for being able to manipulate a film and compressor which is a transcoding tool and to get into the application in even more detail I'd like to invite brian meany the product designer for Final Cut Pro and he'll show you a little bit of that each of the apps and I'll be back after he's done thanks Brett okay so uh gimme about a few minutes to kind of talk about Final Cut Pro for which is going to be a little bit of a challenge there's so many things inside this application so I'm really going to try and do is go over a highlight of a lot of the different ones to give you an idea of some doing just some of the other things that are actually in there and how you can tie into these things one of the first things to note is Final Cut is a quicktime video editor it's a meant to be a robust editor with a lot of the tools necessary for professional video editors but in addition to that what makes it very unique is having a lot of effects capabilities built in as well and it's a blending of those tools and a lot of the stuff gets down to the workflow and how people use it which is what's with very big success and as I say we're fundamentally based upon quicktime all of our files a quicktime based and in everything that we use i'm just going to open up our log and capture window at this point in time what we do is we capture all of our files to quicktime we can either use the built-in firewire to capture number format we can capture directly to our low resolution format called offline RT captured DV directly bringing the video / file r DV 50 is a new format that we can do with final cut for now as well bringing that over firewire Panasonic is including firewire on their decks in addition that we've created a new io framework kit for bringing in uncompressed video / firewire so AJ is first one to make a box for that call the IO perfectly named so you can bring in uncompressed data either 8-bit or 10 bit over firewire onto your computer without the need for a third party card so this is revolutionary a lot of good stuff that we do but everything is quick time base and even those formats that we record to our new uncompressed formats that we've worked with as well keeping all the video and why you d which is the native format video and so forth as well so a lot of tools are going to bring in video of the highest quality possible but in a big range a large large scale flexibility is one of those key things that we try and keep within this application and that's why the more things Italian do it maintain that flexibility for all of our users it's a very key thing as the professional industry moves forward again and again so in here I certainly have a sequence spots was kind of created right now I'm playing in a DD 25 just regular mini DV that's kind of captured here I have it laying in the DD 50 and this has actually been shot with the new Panasonic SP x 900 camera which is the equivalent of the DV x 100 from Panasonic so 24 frames per second I'm actually playing this back at 24 frames per second right now doing the reverse telephony that we've done inside final cut pro and that's another new feature that's inside final cut pro 4 as well so we can edit at 25 2997 we can edit in these standard definition video rates that we can also scale in the same application in the same project up to high definition as well currently the capabilities of the high definition video are limited to third-party pci cards and so forth you know which can bring in the video either uncompressed or uncompressed formats into the offline RT a lot of different variations so there's a lot of ways to tie into this one application that make it very robust and very flexible it actually even as I jump back over here I even have a clip over here of the same slot an 8-bit uncompressed playing back at 24 frames per second playing on the same system so again a lot of formats on the same system playing together I can work with this footage cut it together work with it any way I want to so certainly click done again it's the big basis for all these different items that we use editing inside final cut very simple and very easy we have our sequences which are just spaced right over in here timeline which matches up to the sequence and so forth and editing just by opening up items into the viewer as simple as drag and drop you can choose edit styles over here drag them in I'm good to go especially once I actually had the video targeted in here so I can edit my video together very simply and very easily there's lots of tools inside final cut lots of shortcut menus lots of extra tools like I trim it it when doing things like that but give our professional users tool sets that they actually need and if these little items the flexibility to make the application very powerful now some of the places that we can kind to for working dealing with effects effects are very key thing one of the things that we added inside final cut for is the new ability to deal with speed so in this case for say just going to call up the speed dialogue I can change this may be the fifty percent and we can now playback items in real time playing the back actually doing this on screen doing this in sophomore or can be accelerated with third-party hardware as well but I can go beyond that down this our area I hey I have a speed being indicated very vers that you can see how the bars are a little less over here so they can actually see that moving now in slow motion and i actually just kind of coming here with a different tool i can actually start key framing the speed and choosing a different item where that's actually going to be so speeding the sign them up moving it around so i can fly this key frame around to accentuate or move it around and haven't moved forward or actually at a different point in time do just the opposite and actually have it moved in a reverse indicated by the red down here as well I'll just make it a little bit more dramatic so very quickly I can kind of do these motions key framing these items and again there's a tool set inside this application for bringing up all the different items i need so i can bring up the keyframe editor view all my time remapping right in here and in this area I could just actually resize this area to maybe get a little bit more actually smooth out these items right down here in the timeline and play with that and miss late these items right in there so again that flexibility and that workflow for what's going on in there other things that we've kind of done dealing with effects and so forth things like color correction another big one we actually have some new window layouts going to move over to one specifically for color correction where I have a video clip over here just between two shots it actually needs to be looking a little bit more correct a little bit kind of dull in here and I quickly want to correct that so there's a lot of tools dealing with the different scopes that I can kind of view it here and kind of get them any way I want right now I'm limited to a small window set typically i'd be editing this on a dual monitors play or whatnot but we have a new window that we called frame viewer in here where I can view different windows together so in this place i'm going to look at the previous edit and the current edit i can actually see the color differences between the two that i actually want to get in here correcting so again just with some more simple tools keep them it's all very easy i can actually come in add a color corrector all these items are a bold that can actually be done in real time and these are all built with the FX builder which i'll jump into in just a second and just going to open up the Capri eye color corrector up in here and very quickly I can actually come down so you know what there's going to be my black level i'm going to set up my white level to be this little white line over in here and it's lee i'm starting to get some more matches in there and i can actually start tweaking this a little bit more getting it just to be the color values i want and you know again using my frame viewer over here to compare the previous next edit and see all those things are going so if i'm gonna have both simple tools as i'm using this eyedropper to create and change things quickly but it also has a robust tool set of professional tools things like the scopes and things like that to give everything the professional also needs we work very hard to make sure that we're not only just bringing a tool set to the users that is expected but also doing it in unexpected ways and that's what this community is now coming to expect expecting new and innovative tools that they can use in here to do video editing video effect in compositing it's not just doing one or the other it needs to be a blending of everything is essentially really creating this content of moving images so actually getting into that these are all just some simple effects and kind of doing these things titling is a very big thing that needs to be done as well an application that we also bundle is Brett mentioned which we have a suite of application from here is live type the live type is a titling application that ships with final cut pro for that works in hand in hand with it where you can actually take a bite us back and forth you can actually have certainly system fonts that I have down here for viewing these things but one of the things that's unique about livetype it's this ability to use what we call live plants live fonts the funds that have been created that actually allow you to view these are all actually animated and they'll actually move over in time so very quickly these animations are all created for the user and all I have to do is choose these things as they flaunt and these things will be animated for them automatically and it's not just fonts that are actually included in here there are things that actually can be developed and created there are also textures and all these textures are also in different groups so there are geometric textures there are liquids and things like that lots of different categories and this community can be added to the application time as well so a lot of different tool sets that are available for them in addition mathis also objects that people can use and again they're all grouped into categories is a very deep set there are hundreds of each of these categories wound up the ready to go and in addition to that there are also effects just for adding in the text so I can get into things like say a motion path and very quickly start creating some animations so if I wanted to I could actually just by double clicking on this item add in some text over here and just play this thing in very quickly it's animated those items in so you can see very quickly how I can create having to animate every single character in addition if I wanted to do something else maybe I could come over into something like this and maybe add something way to end it I'll add the curly slide down here I'll just move my preview over so I can kind of get a quick idea what's going on it's going to just play through the different items give it a quick preview and as I've added to curly slide towards the end it's actually going to curl this one out very quickly it's animating all these characters for me without me having to get in there for every single item and all these effects can be created they can be added to and so forth it's a very robust application with a lot abilities I in there and titling is one of those things that people want to do and have something that looks very unique but they don't want to have to spend a lot of time with it so this tool is going to be essential for doing those sort of things getting back into effects back into final cut over here so compositing as I kind of mentioned compositing effects goes hand in hand inside final cut a lot of things that you want to be able to do in here and as I open up the sequence in here I certainly have some shots that I really want to do some compositing over and so forth so just open up some clips and very quickly just by using what we call the superimposed at it I'll edit this particular one over there and right now it's just showing the full video here so if I want to change that I have to go into some special no to things like that I can actually just select the item in here grab the item start tricking it down and moving it and to do the animation I can slide it wherever I want simply set up some keyframes and doing it all right here in the window so I'm actually seeing what I'm doing I can get in here with busy a controls and so forth as well and instantly jump back and play that back in real time it's that real-time performance that makes all the difference of having as many sectors you can do in real time is vitally important so if i do or don't like that except changing the timing of that move that around have it most really slowly around that one keyframe the move fast over there so i can really play with all those different elements now we can get in here start adding all foots of other elements like maybe i'll add in some text and i'll do the same sort of thing i'll just do a superimposed edit to add it in here actually what I just swap it up to the track up here so now this text is great but again it's the toolset that makes Final Cut unique so there's a lot of things that we can do in here to make it easy maybe I want to have this text follow along the same path as the video i just created well this is a computer so i can simply copy what we call pasty it's just paste the attributes of that basic motion to this item down here and now in real time it's all tied to my element now as you can see I'm playing with these things and creating these things and doing it in real time it's at real time feedback that allows me to be creative to play with these different elements in time and I can start getting into wearing also two tracks and effects and things like that and stacking these things up but the rail well it's not necessarily about all the layers that I'm actually doing it's about what I can actually do with my video so in this case I'm actually going to drag a Gaussian blur a filter onto my item so you can see it's blurry over here and then keyframing back in so I can do filters in effect not just the typical keys and things like that in real time or maybe what I want to do is actually get into something else all together and I want to know what my video tracks items because it's a source footage I'm going to buy so i can actually come in here and say alright let's do a timecode print filter and so i can do that and so every single frame else being updated you know as it's playing along there in real time so i can get all those facts going on for me so the real-time performance inside final cut for is very robust right now which is really nice and really great for our users so beyond all that now these effects that I've been creating over here like the Gaussian blur these are all created in FX builder FX older is the language that we use for creating all of our affects every single one that's created inside final cut is actually open you can open them up actually see the code that's actually been used to create it and go in there either modify it or create your own use it as a template we have the new menu that kind of shows up in here showing all the different points and so forth and we actually have some developers that have created their own plugins and things like that as well so this adds the number of texts we can go on and it ties directly into a real time effect structure so the items are the effects that can be done in real time just show up as real time as well so for our users again very very powerful solution so that getting that interactivity all the time which is really important so you know very key elements as to what's kind of going on at that point in addition to that in addition to our own effects that we actually use we also work with third party after text filters so here I have a filter from stage tools there's other ones from sort of look at things like that you can actually use may show up directly in the menu as the manufacturer's name you can actually apply them and use them as well so tying in directly to those again compositing effects all inside one application um beyond that there's a lot of other things that gone inside final cut for customization is a very big one one thing that we've added you keep the layouts and keep yourself working very efficiently is a fully customizable keyboard over 600 commands inside final cut and a lot of them are listed in here that's why we have to have the whole search mechanism in here as well so you can actually find all the different ones that are in there but very quickly you can find all the different items that you want here's all the ones related to audio and things like that and search and create them or customized into any other commands and these are not just limited to just a single key strokes of the command key strokes you can go down a command option shift option and things like that and just do it as simply is dragging and dropping to one of the layouts and then you have customized to that item tooltips update to show the new items and so forth very robust and you can even go steps further I've actually adding in buttons dragging it to the areas in here and so forth as well we'll add buttons to your user interface so again keeping the user actually very productive in their entire workflow which is a key to what we try and do in addition that audio is a very big thing as well so kind of get in here certainly going to move to again a slightly different layout all of our layouts of based upon workflows and things like that we have an audio mixing layout so in here I can actually get in here do some more customization resizing the timeline tracks bring those up a little bit and actually just start playing these items in real time and with key framing turned on I can actually start doing key framing and moving my items in real time adding keyframes down here in the timeline and so forth as well so I can do my real time mixing inside of here where he with files 24 bits and in addition to that not only real time mixing for audios and levels we also work with third-party audio unit filters so we've rewritten our Apple filters that we actually had them in from Final Cut Pro for audio units as well as we can now actually work with third party ones as well are there so all of our units will now kind of show up in there and addition to all these things that are going on we've also included another application that we mentioned before as well which is soundtrack they're just going to quickly move over to soundtrack here soundtrack is there are all you're looping a music creation editing which is very powerful right here I have a file that's been exported from Final Cut Pro would have having markers that she'll off these are called storing markets would allow me to line up things very quickly between the two applications so very quickly if I'm looking for items I can just start flicking an item even while we're playing my video starting getting an idea of what a collection it sound like that's low at the moment but you can find all the different items search for zipper ones that I want find a loop and then just drag them off it'll create a track for me automatically I can loop those things out and just keep kind of going there's a very extensive search mechanism i can do the same sort of thing i can do in all the applications start searching maybe for a strum guitar find the items i want again just drag these it these are all loops are created the shipment over 4,000 loose but again there are more items to be added to be the very extensive database of finding these different items so you can see how powerful it really is you can get into lots of different items lots of different music and Abby's items in you also can work with in addition to all these different loops work with audio units inside this application as well for doing your mixing so for example I can bring up my filters these are ones that are shipping directly with Apple but also here is them from a magic that have actually shipped and I can actually get in here maybe add something like let's see let's do the fatty cue here and I can actually also bring up the UI for this item as well and actually start playing and animating and automating this from the UI from the manufacturer as well all this while doing my music editing so again a very powerful little application for creating my music for my video productions then we back over to Final Cut Pro quickly as well and just one of the last things in addition to that is all these items that we bring up is also exporting out over to compressor compressor is basically an application that does all of my compression it does mpeg-2 compression most importantly does to pass vbr for going out to DVD combining that would certainly the music that I'm actually doing inside soundtrack bringing all my productions together and they're going over to DVD Studio Pro as well so a lot of times and files in there as well there's a lot of different presets for going out to pretty much any format that you can kind of great inside quick time so a very robust set of features inside this application and this is just kind of the beginning of the toolset there's a cinema tools as well which allows me to do 24p editing as well as film editing so I can do the offline or online editing and so forth as well HD editing and there's even further attraction that my colleagues will get into in just a minute but that is the basics of Final Cut Pro for some of the few ties ins and so forth in there as well a lot of the different ways you can actually start getting into the application but it's a very open one and again the biggest thing about this application that makes it unique and powerful is the set of tools the set of tools are based upon open standards be it quick time or other ones that we're kind of working on keeping it open to bring people in and create other things out there the community of making a much bigger one than anyone could do by themselves and that's something we believe very strongly in so pick up that I'm going to turn it back over to Brett kind of move on from there Thanks brand final cut is in the suite of applications is an incredibly rich sweet there's no way we can cover the feature set here and the time we have available so we apologize for we're going to rushing through but the goal here is actually just to give you enough of an overview to help us actually focus on another really important message which is what are the developer opportunities within Final Cut and within a number of the professional applications such as imagixs logic and all of them have various plug-in models available to you whether it be for audio a units as you saw with soundtrack and with final games provide the final cut pro but also within logic all of these applications support audio units and they allow you to you know have various audio effects and even though be able to do a number of things to either you know improve the quality of your sound or actually generate new sound so audio units are one very important feature of these various applications and if you happen to be a not a unit developer there's an opportunity for you to make your audio units available to these apps FX script is another interesting opportunity this is a scripting language with inside a final cut for doing special effects or effects actions in fact all of the affected Final Cut uses are built within FX script there's a couple of third-party developers today who actually make effects script plugin suites for final cut and it's an interesting opportunity both for final cut express and for Final Cut Pro if you happen to be a developer with skills in doing the video manipulation of various types and effects script is a one that you can actually get into start playing with even as a user for being able to do custom effects development and you just still doesn't work ok after effects plugins are also supported within Final Cut so there's a basically a certain fairly minimal level but nevertheless a level of support for after effects the plugin model that's supported within Final Cut Pro so if you have you know development you've done using the after effects plug-in API set they can be brought into final cut to be able to again take advantage of both generators and effects for example blurs as you saw on a number of other things that are available so if your effects developer and have experience with After Effects this is another place that you can be bringing in your plugins and in addition to all of the stuff that we've talked about and a whole nother area of opportunity is for shake shake is Apple's compositing very high-end compositing tool and they have their own plug-in model which is available for being able to do a very sophisticated compositing effects and we'll talk more about about the shake plugins or later in this week in the content space is another opportunity Brian showed you soundtrack for being able to create music well it comes with a set of loops but there's a huge suite of you know musicians out there and people who have various loop libraries available it is possible to actually take loop libraries that exist potentially maybe for acid it for others and bring them into the Apple loops format Apple loops is a unique format that includes both tempo information and key information because soundtrack has won a unique ability of being able to do in real time to be able to adjust both tempo and key to be able to basically reuse loops in a very flexible way so there are in fact is a tool available as part of the soundtrack application for being able to take existing loops and build Apple compatible loops or Apple loops in the visual space there's another opportunity for content developers which is both for life so I've been for final cut you know today if there are folks out there who do create you know fairly significant Suites of motion back or animated backgrounds and things like that that are available live type is interesting and that it kind of takes that model one step further because you can take animated content and actually be able to provide some looping and affects behavior in addition to just basic if you will motion back content motion decks are just animated backgrounds but with life type it's possible they have basically prefix loops and repeating center sections of the loop and and loops so that you can create very sophisticated streams of animation that can be extended over time and those are can be approached by either providing textures which are the effectively the animated background objects which are very similar but have alpha channel capability they're generally motion objects that are assumed to be composited with some other material and so have alpha channel and live fonts which are very unique capability it's basically the concept of having effectively fonts but where each glyph or character is actually a full animation and effectively each character is a movie which as you saw in the demo characters that effectively draw themselves or in some cases or you know hand-assembled of things like that they're very very clever way of beyond the normal font mechanism but all of these are available as an opportunity for those of you who are open to be content developers in the hardware space for the various applications this certainly in the pci card development area opportunity for a no video acquisition hardware for standard and high-definition video one of the big challenges how do you get in all this data into the Machine and certainly for things like high def you know you need to be able to take advantage of PCI and now pci and pci x and if you you know our hardware developer this a great opportunity there also for for final cut and for the email autologic product there's a number of opportunities for multi-channel audio acquisition capture boards as well in addition to for the pc card pci card in the video space accelerated hardware real time effects board so basically there's the concept of i/o bringing your data in and out both for audio and video and being able to do a very high speed effects work we do for final cut and you know the other products a lot of things are done in softer particularly now with the new g5 there's just an enormous amount of power that's there but is still not enough horsepower to be able to do things like high definition video effects of things like that in real time there's a lot of opportunity to be able to do some very interesting things in the firewire domain as mentioned there's a couple of interesting products that are coming out both of you know audio acquisition unit for the go over firewire for multi-channel audio input and output as well as there are new i/o framework that we've made available so that developers can actually do that now in addition to audio for being able to deal with that with standard standard definition uncompressed video AGA is actually one of the first developers to do that but we're anticipating quite a number of other developers jumping into being able to do other firewire based on compressive SD solutions and in the u.s. USB domain there's opportunities for multi-channel audio acquisition certainly seeing more and more multi-channel audio capabilities throughout the applications I think you saw yesterday the keynote or one of the sessions they talked about quick times and new capabilities for surround and there's a lot of activity out there in terms of extending the support for multi-channel audio and a lot of places to provide hardware for for all of these opportunities is a number of sessions this week that I've encouraged you to go see if you're into content creation this afternoon there's a creating content for soundtrack and live type session where we'll actually get into detail around how to make the apple loops how to take various motion video content or animations and make them available for lifetime and the tools and other formats that are available there on Thursday there's a session on interfacing professional video hardware with Final Cut Pro where we'll get into the various issues around both acquisition and the real time effects as well as the new i/o framework and how you can take advantage of some of the new capabilities there and on Friday we have a session on on plugins that will cover everything from the shake plugins and audio unit plugins and after effects plugin Kate compatibility as well as where we're going in the future in terms of actually trying to unify some of our plug-in the plugins across the professional application space now moving on they're kind of the next interesting opportunity in the developer domain is in the workflow area if you look you know although we have I think a very rich set of professional applications available on Apple it's really just a small drop in the bucket compared to really the problem domain in the professional certainly professional video and audio world there's just so many other things that people have to do to be able to produce a movie or produce you know a CD whether it be script writing and storyboards to you know dealing with a very high in color correction and you know going back and forth between film and scoring and you name it it's just a whole number of different pieces to the process and kind of the interesting in a situation is that in the you know the real world isn't doesn't result revolve around any one application that it involves many to be able to solve the problem in that in fact we spent a lot of time thinking about that and from the perspective of our pro applications and I think we have some interesting things will be talking about here in terms of how you can actually participate in this process one of the big problems with workflow is certainly you know how do you get information back from you know from one application to another how do you get access to the raw data that's in the application whether it be in the case of Final Cut the you know the project and how all the various things are laid out and the timelines and and such to you know the metadata you know surrounding each other is what effects and other things that are actually applied in transitions and and such and this is just for video nevermind you know other aspects of the workflow and independent of the that level of data there's the issues of actually the various formats that the media end up bringing into the end of the pie certainly QuickTime on the Apple platform makes a big big difference here because we have one consistent way of being able to deal with multiple forms of media and a consistent system sort of API is I'm not helpful lot but it still is a big challenge in terms of being able to deal with the different different formats of media there and the different formats of project files but that's again only kind of one piece of the prowl moving data between the various things is one thing but along the way you really need to be able to modify it and be able to do things in you know interesting things with the data as it goes from the different stages of the workflow it's more than just reading the files so with that I actually want to pass off to Bill Hudson from Apple who will talk a little bit more about what we're doing in this and actually talk about some some work we've been doing with some third parties to help you know really show the opportunities in the workflow space bill Thank You Brett Brett mentioned workflow and that's a little bit about what we're going to talk about here and that very much is an offline to online workflow where final cut pro is used for offline editing and moving project file data over to a quantel system either an EQ or IQ in Final Cut Pro for we've got to XML interchange format and this is the the first the industry's first nonlinear editor to expose all project file data via XML so for developers there's a lot of opportunity there to create products that address various workflow issues nothing is hidden or proprietary in this project files data interchange you have complete access to all Final Cut Pro project attributes and it provides a link to other editing systems asset management databases and post-production pipelines so we'll touch on one of those here in just a minute the first implementation of course is is an AAF plug-in by automatic duck and for those who do not know AF is the advanced authoring format there are many manufacturers who are members of the AF association and they are all striving to arrive at a a standard by which information can be transferred a hmong various disparate systems in a post-production workflow so let's talk first hear about what this process is and what will be demonstrating here in just a moment first you're going to have your offline acquisition so let's say you shoot film 35 millimeter or 16-millimeter and you tell us any to HD at 24 p or you maybe shoot HD originally in 1080 one of these different frame rates at that point then you're going to capture into a final cut pro desktop system using either a pinnacle sinewave cards the pinnacle sinewave for which they will have drivers available in very soon or the aja kona HD card so these two cards their drivers allow for different capabilities right now the pinnacle sinewave will allow you to capture when they ship this products in a way for either in photo jpg DV at 25 megabit or dvcpro 50 codecs the aja kona card HD can now capture two photo.jpg so this gives you the ability to have files that are very very small so you know so basically 24 PhD is about 96 megabytes per second so when you capture these offline formats you're much much smaller need to work mobley on a on a powerbook so here's your acquisition into final cut pro so at that point you're going to then you can edit with real-time effects high quality again low data rate DV at at 24 p is about 2.9 megabytes per second and all your frame and timecode information is completely accurate in your project file you can monitor your your video out ntsc with real-time 32 insertion / firewire on Brett mentioned the aja io box all of the ports are active on that il box so you can you're like I said your video and you can get multi channels of audio out which is really a nice thing to be able to do while you're in uniting environment you can then export using the automatic duck AF plugin and then transfer that file over a network directly to an quantel IQ or EQ system and it's at this point that I'd like to introduce Tom McDonald from cuanto Tom thanks Bill I think my friends at Apple being a little bit humble about XML technology because it's a huge step forward and it's a huge commitment to not only the professional video industry in film industry but to developers as well this is the first time essentially the Hulk kimono has been opened up for such a popular application in the potential to impact workflow is huge in Hollywood but it is potential at this time and what we need to do to make it successful life in the hands of the developers so i hope everybody actually has an opportunity here to get their heads around what this means and go forward and make some some great complimentary apps that can move this whole effort forward i'm going to talk about quickly what xml exchange does for quantel quantel is the makers a very very high-end digital film editing and graphic systems essentially there is a group in Hollywood some folks in London in different production areas filmmakers that are never happy with the performance of systems you can never have a fast enough system our job essentially is to stay ahead of Moore's law as much as we can and we've done this for about 25 years what's pushing this movement forward now for us and is very good for us is the fact that in the film area in the film arena these technology is now reached a point where you can scan film rather than going back and having to cut film and once as we know once media is in a digital environment it's much easier and they're active to manipulate and these files then gets can to to cave file sizes and that 12 megabytes a frame and that's sustained data rate of just video of about 300 megabytes a second so our systems have special server specialist structures and colour correction tools to visually assemble these huge files from a longer three or four months edit session and put them out to film that's what we're good at what we're not good at what we don't produce are very powerful sub one-thousand-dollar long form editing systems with the tools that professional editors need to be in a three-month edit and edit at 24 frames and get a project done that's what Apple does well so what app with the xml technology does it allows us to bring together the best of both worlds to create a really what is a unique workflow for Hollywood and it's something that Hollywood not just Hollywood but adding professionals around the world have demanded for a long time which is flexibility I'm here to tell you there is a demand for this product and there is a demand for this kind of interoperability and it really is a breakthrough to see this actually move forward what's happening is that the XML is turn being turned into an industry standard format called AF advanced offering format courtesy of our friends at automatic duck West back there and Harry from automatic duck who are with this plugin are spinning the XML into it format that we a quant L can read and then digitally assemble the offline data from the up to the online data and editors are really really jazzed about this extremely jazzed about this I spent last weekend la talking to the number editors and when I explain the workflow and the flexibility you know they're coming up with all kinds of ideas and they're asking if certain developers are getting a hold of this we're at a position now where we're actually one of the first which I don't like I'd like to see that there's going to be a lot of partners around so again please explore this a little bit what we're going to do today is we're going to I'm going to bring up Milton one of our product specialist from quantel and we're going to go through the workflow for a digital intermediate works well on a quantel assist and I'll go through this quickly these are some of the advantages of doing it on a quantile system essentially it provides a more interact if more real-time environment for digital assembly of film it allows the producers the directors the directors of photography the other saw sit down and watch a film come together as it will be seen in the theater and there's no substitution that for that and removes errors and with the budgets of Hollywood films nowadays this is a good thing so Milton wants you come up or wait we're going to start with Bill and then we'll go to Milton that's right bill is actually going to take and take a sequence that we captured from a high-resolution environment I think in this case it was HD but it could easily be 2k and he's going to do what editors do they use you know final cut on trains on planes when they had some spare time in between other jobs and use the portability of Final Cut Pro do this long at it and then send us the data now what we have here from the quantile is in a substitute our 2k editing systems are about this high in this slide and it didn't make a lot of sense to bring in a whole cheap adding system so we brought our smaller version of this and this will actually edit at sixteen by nine in a smaller resolution but the workflow is the same Rui is the same our architecture is all the same that's one of the unique benefits of quantel system is all the same code base across the entire product range and then we'll actually do some what about a mirror version of what we were doing the high end two cases so bill why don't you go ahead and do the export know what I've melton come up okay so this is a sequence will play through this for a second I'll ask you a question I go what's your favorite documentary felt my favorite documentary got to be the last walk I love Neil Young so when he sings helpless with the band and when Tony Mitchell kicks in from behind the curtain I think he's at the idea this is for silver docks which is a film festival by AFI and it's a presented on the Discovery Channel so this project was a shot at 24 p in HD it was captured with the nocona HD card and and then captured to an offline resolution this was actually transcoded to DV in this particular instance and all I need to do here is go ahead and do a file export of this sequence and I'm going to go down to my automatic duck AF export and you can see I've got this file here silver docks and I'm going to go ahead and export that and it's exporting it out over the network it's done real quick and milton is getting wired so he'll be here in just a second so he will be able to we've got a hub here we send it out over ethernet targeted one of his discs and he's going to go ahead and bring that up right away okay good morning ladies and gents I'm going to take the files atem still has created by going to my input output menu strength to my conform and drag the file across for the purpose of this demo I've already pre-loaded the material however i'm going to use bills aaf essentially to create mike informs all i'm going to do now is give my edit a name and call it my edit kit conform and then go to my clip spin and there it is that's yet it exactly the same as bill created it I can scroll across that and then what i can do is i can go into my two effects and do things like a color correct so in this case i can use the advanced tools of my color correction so if i just ramped up the contrast on that possibly bring down the brightness you can see it's happening in real time around put my saturation there too before and after and you can see the different straight away go to my settings I can save my settings I can drag other settings that I've created so might have that particular look that look that look go further down on the timeline again very easy drag-and-drop straight away but I could do things like go in and create all my blurs all the all of these are harder accelerated to my DVDs I can move things about very fast keyframe everything so I can go further down of the position and you can see on my graphs are there available everything's happening in real time very very fast so you can see from this simple example how we can offline on a system such as a Final Cut Pro System and then bring it onto a quantel in this case secure edit pro it could be an e to an IQ and EQ which is standard def and HD or an IQ which is HD and 2k and can also load in background for cake plates currently you can bring in information such as a clip name it dissolves your cuts in your video your audio but then as more and more channels become available in af you'll be able to bring in information such as your color Corrections your DVDs and your blurs and all hardware accelerated all using proprietary hardware where you're sitting with your directing your producer and they want things to happen very fast in real time and that's what you do it thank you so like one of the keys that we wanted it to go over and showing some of this workflow is there's actually a lot of different pieces that are involved you heard audio you you know talking heard about cards for different forms of that position you saw various effects you saw you know the XML pieces and the automatic duck export to a and moving over to you know a totally different system than the knack the key here is there's a lot of pieces involved in producing films and producing a professional content and there's a lot of different players along each step of the process whether it be you know the card vendors for being able to provide you know the you know acquisition hardware or whether it be you know the effects creators or whether they're the content itself and there's a lot of opportunities here for people to participate one thing to mention is they talked about workflow moving information between different systems there's a lot of interesting formats out there for moving data around EDL's and a decision list for which it really created for the purpose of that of editing film and OMS which is a format for interchanging between avid systems XML which is what we've chosen as our kind of core format for interchanging information you've seen this you know for keynote but this is what we've chosen for final cut and our various professional applications is the key way of being able to exchange information amongst applications and the goal for us is to be completely open with the project file format one of the challenges with opening up a professional application is obviously we're going to continue to enhance the capabilities of that and we don't want to certainly open up the binary formats of the files because that makes it very difficult for us to be able to enhance the applications but there are ways to do to keep things open within your application and still allow that kind of flexibility for growth and we've used chosen XML as the way to do that and we've also made a very conscious decision to make sure that everything within the application is open through that process so basically you know in some of these other formats from for example edl and on omf they only actually share a very teeny amount of information for editing a film for example basically just the what the various clips are maybe a little bit of information about some transitions but not much more than that within you know the model that we've chosen the goal is to allow all the sequence information all that affects information and everything for the project's to be available and the advantage of that is that it gives considerably more opportunity to external developers to get involved in the workflow process the opportunity for being able to do create applications that actually do in a pre-assembly of application of projects for example is really quite interesting in a one in a thing you've I'm sure you've all seen you watch HBO or Showtime or all those between all the various you know things that they show they tend to have these little segments where they show what's coming up next it's amazing those things are remarkably you know you know common look between each one of those things today through the various editing systems there's a lot of work to manually and create each of those you know things and the opportunity for to automate some of that process for example by opening up things with XML is an interesting you know a thing to consider the other thing we're doing in addition to providing access to the full information is also making sure that there's a plug-in extensions to final cut pro in particular but other applications as we move forward so that you have access to that XML data you know through a way that's going to put actually integrated into the workflow of the application itself we talked a little bit about AF again aef is in our industry you know format if you will go called it the advance offering format which is a consortium or a collection of companies that have come together to try and find a a common model for being able to exchange information aef is looks to be very promising as a way to be able to move data around from system to system but the challenge with any open formats such as or any of you design by committee format is that it takes a long time to evolve and while this or we think is certainly the most promising of the various formats out there it's still much like the other legacy format still is very closed in many ways information that's exported out of one system like an avid for example or you know another you know AF producing application may actually contain a lot of what they call black metadata it's basically metadata dits passed around and only visible to that given manufacture and that's one of the things that we're trying very desperately that you're trying to avoid by making things available through XML is to actually make sure that everything is visible and with XML being somewhat of a self-describing in a format and it's actually very easy for developers to be able to manipulate there's a lot of tools certainly in Mac OS 10 for being able to do that automatic duck you know there's work we work very closely with them over the past few months it's actually build on top of this xml export model this AF plugin so that we there is a industry standard in which interchange opportunity and we think of them for the great work that they've done I want to point people off again to some of the various sessions there's a content creation session that I already mentioned later this afternoon there's also a session tomorrow on data interchange we're going to focus on the whole process of both XML and AF and actually what some of the details are behind the interchange formats and how you actually can get more involved in this workflow for going between the various professional media applications so hopefully we can see a bunch of you guys there tomorrow morning and again we have a session on Thursday for are going over some of the video hardware opportunities other acquisition cards and acceleration card vendors that might be interested in being able to support Final Cut Pro for and on Friday session on plugins again if you're a plug-in developer interested in taking your After Effects plugin and making it available to file cut or you're interested in learning a little bit more about shake or some of the other plug-in formats Audio Units and things like that please join us on Friday afternoon with that we're going to close this session and hopefully we'll see you then if you have any questions they think like that make sure you contact your industry evangelist jeff-lo who represents professional film and video and we appreciate you all coming today thank you