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