The Yak moves on to new pastures…
This Site will be closing down.
Go to the new final BUG Site here
Geekery, Story Telling and Beer in the Chinese year of the rabbit!
This months meeting is on the second Wednesday of the month. Again 
Wednesday 9th of February 2011
We are at Bilgi in Berlin Kreuzberg until the renovations are finished at the ADK.
http://berlinfcp.de/index.html
Paul Murray will be continuing with his introduction to FCP moving from the Viewer into the Timeline.
Lu Nelson will be making his first apperance at final BUG.
Lu will be showing us how Avid compare to Final Cut.
And Berlin based Media guru Professor Paul Paulson will be back continuing his excursion into film theory and talking specifically about Contrast and Affinity.
Unfortunately Professor Paul Paulson does not have a site as of yet!
If you have never been to one of our meetings. Please feel very welcome.
Maybe you are in town for the Berlinale!
From 1830 hours onwards.
As usual uf you turn up you will get a raffle ticket for our end of year AJA draw!
Bilgi Interface
Boppstr. 8
10967 Berlin
Look for the Yak and ring the AATC bell!
ps Paul needs a volunteer to help him move tables from 1800 hours before the meeting starts
paul(at)paurray.de
pps The move to fianlbug.net is being held up until the end of February for technical reasons.
berlinfcp.de/BLOG will disapear for a couple of days
Because we need to do a domain host transfer thingy
In case you missed it the new Blog is taking form here
A Wide World of Film
About 400 films are shown every year as part of the Berlinale’s public programme, the vast majority of which are world or European premieres. Films of every genre, length and format can be submitted for consideration. The Berlinale is divided into different sections, each with its own unique profile: big international movies in the Competition, independent and art-house productions in Panorama, movies specially for a young audience in the Generation section, the most exciting German cinema productions in Perspektive Deutsches Kino, an in-depth look at films from “distant” countries and experimental forms in the Forum, as well as an investigation of diverse cinematic possibilities in the Berlinale Shorts. The programme is rounded off by a thematic Retrospective and a Homage, which focuses on the lifework of a great cinema personality. Both of these sections, which are curated by the Berlin Film Museum, aim to place contemporary cinema within a historical context.
The European Film Market (EFM), the film trade fair integrated into the Berlinale has developed into one of the most important events for the international film business. The Berlinale and EFM, the festival and the market, together form a unique network of formal and informal connections. Since 2006, the main venue of the EFM has been the Martin-Gropius-Bau, a prestigious location with charm and character in the immediate vicinity of the festival centre at Potsdamer Platz.
Showing, enabling, initiating…
The Berlin International Film Festival sees itself as a showcase for what is happening in cinema, but also as an actor and propagator on the international film circuit. Whether through film series, workshops, panels and thematic collaborations with other cultural players – the Berlinale offers countless forms of co-operation and creative interaction.
One of the many fruits of the festival’s cooperative orientation is the Berlinale Talent Campus, which takes place during the festival and is made possible by a broad network of creative partners. The Campus invites about 350 young film talents from around the world to meet with experienced film professionals and personalities for a week of workshops and discussions. This “talent forge” is primarily about the transfer of know-how, teamwork and the exchange of ideas. The Campus is an investment in the future of the festival, but even more so in the future of cinema.
In terms of thematic focal points and forms of presentation, the Berlinale situates itself at the meeting point of the available and the possible. This fundamental openness for new ideas and solutions, for unconventional formats and surprising lateral connections also finds expression in ongoing initiatives that are permanently embedded in the festival. Such as the Berlinale Co-Production Market, which, associated to the European Film Market, provides fruitful territory for international co-productions; or the World Cinema Fund (WCF), a joint initiative with the German Federal Cultural Foundation. The idea and aim of this support mechanism is the realisation of film projects in structurally disadvantaged countries and strengthening their position in the international film industry. The Fund’s activities continue throughout the year and therefore stretch far beyond the festival itself.
The Berlin Spirit
Artists from around the world are attracted to Berlin and many consider Berlin the unofficial capital of German film. It is home to a rich cinema scene and a diverse, discerning public. Last but not least, Berlin has captured the imagination of countless filmmakers. Over and over again, the city has served as the backdrop for great silver screen productions, often becoming itself the secret protagonist of the movie. Think “film” and “Berlin” is bound to spring to mind. For two weeks every year Berlin is totally enraptured by the Berlinale.
In the first week of February, Berlin’s House of World Cultures will play host to transmediale.11 RESPONSE:ABILITY! Presenting a dynamic programme of cutting edge artworks, breathtaking live performances and leading thinkers from around the world transmediale.11 addresses the ways in which our digital culture is radically redefining our physical presence and the ways in which we interact as interdependent global communities. By looking at the emergent forms of bio-political, economic and affective dimensions of a society increasingly manifesting itself live and online transmediale.11 reaches beyond the Web 2.0 era, examining the Internet in terms of the abilities and potentials available to its users, not only to participate but to actively shape it as contemporary society’s central zone of inquiry, creative and cultural development – while pushing the urgent need to defend it from restrictive political and legal intervention.
Manifested through open studios, challenging workshops and temporary project offices run by leading artists and international experts from the open technology and creative sectors such as Kelly Sutton, Heath Bunting, Mushon Zer-Aviv, Elizabeth Stark, Peter Sunde, MODD_R and the Open Design City transmediale probes and expands our abilities to respond to the volatility and constant flux of digital life. Helping along the way will be Angel_F, the digitally conceived spyware entity born through the technological-sensual relationship between Biodoll and Derrick de Kerckhove.
Joining the BODY:RESPONSE conference renowned speakers, researchers and activists such as BIFO / Franco Berardi, Maurizio Lazzarato, Tim Etchells, Jordan Crandall, Mark Hansen, Carolyn Guertin and Paul Vanouse will be leading a debate into the ways in which we as physical autonomous entities, challenged by the redefinitions of space and an increasing “dematerialisation” through our digital presence ultimately experience space, reality and our digitally extended being.
Daily screenings of curated film and video programmes and a special Sunday matinee featuring an early example of affective cinema, join the week-long programme of inspiring talks, performances, actions and installations by internationally celebrated artists including Les Liens Invisibles, Heather Kelley, Daito Manabe, Ursula Endlicher, ubermorgen.com, Christin Lahr, Evan Roth and the HONF collective from Indonesia. At Test Signals, organised by the trans-national non-profit Sourcefabric, radio-makers and activists will come together in panels and workshops to discuss the future of radio in the digital age.
As a special annual highlight the winners of the transmediale.11 award competitions will be announced at the Awards Ceremony on 5 February 2011: outstanding and critical artworks with the transmediale Award, exemplary media research works with the Vilém Flusser Theory Award, and radically innovative projects defining and developing the open Net with the new Open Web Award.
here is the site
an here is the programm
This is a great opertunity to catch up on english language films here in Berlin germany. The latest British and Irish, feature and short independent films are screened at the Babylon Berlin Mitte cinema during the Britspotting Film Festival. Sponsored by the British Council, it has been welcoming film addicts for over ten years.
Geekery, Visual Story Telling, Networking and Beer.
This months meeting is on the second Wednesday of the month.
Wednesday 12th of January 2011
We are at Bilgi interface in Berlin Kreuzberg until the renovations are finished at the ADK.
Paul Murray will go back to the beginning again.
Doing an overview of the FCP interface, preferences and project management.
Further Berlin based Media guru Paul Paulson will be continuing his Film Theory workshop.
Looking at space in film language. With examples from some of the all time great films!
If you have never been to one of our meetings. Please feel very welcome.
From 1900 hours onwards.
Bilgi Interface
Boppstr. 8
10967 Berlin
Ring the AATC bell!
ps Paul needs a volunteer to help him move tables from 1800 hours before the meeting starts
paul(at)paurray.de
pps The move to fianlbug.net is being held up until the end of February for technical reasons.
berlinfcp.de/BLOG will disapear for a couple of days
Becasue we need to do a domain host transfer.
People who follow this Blog regularly will have noticed a lot of stuff about lightworks. Here is some background information. It is a hard one to pin down. Because it is not being sold as such. Rather given away! And not by some start up company in a garage some where in California rather by a rather large global player called Edit Share.
To understand the story we have to go back to the film editing table and the advent of the first digital non linear systems. Film editing tables were simple. You had rolls of film a screen and a lever a little like an accelerator in a car. The difference being that you could go forwards and backwards with out changing gear. And this insignificant little fact is probably the key to the whole story. Push forwards go forward and pull backwards and go backwards. OK you had to put on the white gloves and pull the film out of the machine, stick it together and push it all back in. Ask any young graduate of one of these media schools that are popping up all over the place what a bin is and they will look at you perplexed!
So along came the first non linear edit systems. The CMX 600
With a touch screen and Light pen! Dislovles, special effects and even the possibility to delete things. And so non linear editing was born.
So there were various other early alternatives but one that every one has heard of is called Avid and was born in 1987 in Burlington, Massachusetts. And so Avid became the first main stream editing system.
The story of the invention of Avid was inspired by the emergence of “small” portable video cameras. And the hassle of basically crash recording from a video camera to a video recorder. Possible but inevitably painful.
As the man who invented Avid says “You change your mind and you lose it”
I never saw one of these and I can´t find it on Google but various people have told me that the first Avid came with a Steenbeck like lever! The problem was as always when a new product turns the industry upside down the old dinosaurs resist and say it is was stupid. They were coming from film and felt kind of insulted by this stupid electronic control device. Avid gave up on there console relatively early.
Meanwhile on the other side of the pond in 1989 a company called Lightworks brought out an alternative to Avid. It really was an alternative back then. Today we have people who use Avid and people who use FCP. Back then it was people who used Avid and people who used Lightworks! Lightworks had the Steenbeck like lever and they stuck to their guns. The great thing about the console is that it was seriously intuitive! The lever and the big red button that looks like you are about to start world war 3 before you push it! And of course there are the trim functions which are simply a legend. Basically combining the best of both worlds. Steenbeck type control, moving backwards and forwards through the timeline and the ease of trimming without having to handle the celluloid.
So what went wrong. It is hard to tell. The best products don´t always win. The marketing was probably a disaster and the company was sold time and time again and Lightworks was put on the shelf.
Fast forward to 2009. Editshare bought it and said they were going to make it open source! A lot of edit systems have come and gone but no one reckoned with this one. It was like a second coming!
So the question of course is why did Editshare do this? Like they really have put considerable effort into it, with project sharing, support for RED and support for multiple users.
To even get close to the truth we have to ask what do Editshare actually do. Editshare do a lot of things. Amongst others they provide storage solutions. What is unusual about their storage solution is that it is cross platform. Which means that the material is digitized and you decide in the edit suite what system you want to use. Final Cut Pro or Avid. It doesn´t make a difference. OK so that is a game changer right there. And now they have resurrected Lightworks.
Maybe they just want to be able say that you can buy there storage system and edit out of the box with their free software. But hold on what about the console. The device that was based on technology developed in the early 30´s in Germany.
Yes there are plans to bring out a console. The console will cost make money. So they will make some money with the console. But that is hardly the point. Editshare are huge. They don´t have prices on their site.
This is now where the theory gets a little wobbly but you never know. Stranger things have happened. So your sitting in the edit suit. You have Avid, FCP and this free Lightworks software. And then because your company bought so many of these suits you have this free console sitting on your desk which works of course with lightworks. Then some freak invents a patch or crack or jail breaks it, whatever and you can use it with Avid and FCP…..
This would literally turn the industry upside down! The editing software would fade more and more into the background and we would return to pre 1971 with the lever. Push forwards go forward and pull backwards and go backwards. Hit the big red button and move on.
детско обзавежданеGeekery, Prizes, Presents & Finger Food 08:12:10
Dear Members
Another year is almost over and we have one more meeting to go this year.
This one is going to be very special
Geekery :
No user meeting would be complete without Geekery!
Round 2 of the Lightworks debate.
Stone Age Editing software that came back from the dead last month.
The twist in the tail is that it used to be seriously high end and is now for free!
Stone age meant in the best possible way of course.
In germany the richest people are “Stone Rich” / “Stein Reich”
Raffle : The end of year raffle.
So if you´ve been to a meeting this year and have a raffle tick be sure to turn up because if you are not in you can not win.
As of now a large prize from AJA is guarantied.
There is probably going to be a second prize of some free training.
And there will be a “wooden spoon” third prize.
Presents : Bring a present
We all have an old book, manuel, cable or adaptor, Lightworks Mug, what ever!
You don´t need it any more and you can´t sell it but could maybe give it away if you only knew to whom.
Pack it in some fancy rapper and put into the finalBUG sack!
Then pull a random presents from the sack….
Maybe you can win that cable you have been looking for all your life.
Food : Bring some “Finger Food”
Workflow details to follow per email.
Also check the Blog for more details as they become clear.
December 8th 2010
from 1900 hours
Geekery, Prizes, Presents & Finger Food
Bilgi
Boppstrasse 8
10967 Berlin
Finaly please check out the new Beta User Group site!
www.finalBUG.net
see the FAQs for a how it works!
there are 750 registered members and I am curious to see who reactivates there profile first
the profile are all imported from the existing site and the site before and the site before…..
use your old login detials
HINT – try searching your email program for :
berlinfcp.de
OR
final (cut) Berlin User Group
OR
Berlin Final Cut Pro User Group
OR
BFCPUG
http://www.lightworksbeta.com/
Back in April 2010, we announced our plans to take Lightworks open source and the first stage in doing that was to make the application freely available. So we are very pleased to reach this first stage and offer a free download of the most intuitive and advanced editor available. Lightworks is an Academy and Emmy award winning professional-grade editor with over 20 years of history in the film and broadcast industry. Having cut hundreds of films such as Pulp Fiction, The Departed, Centurion and Shutter Island, it includes a full feature set of editorial tools, from advanced trimming and media management, through to stereoscopic support and realtime effects including multiple secondary colour correctors. Lightworks has an advanced effects pipeline, utilizing the power of your GPU. And with support for up to 2K workflows with realtime effects, it is the most advanced editing application available.
There is a Beta version of the new user group site.
The Berlinfcp.de/BLOG site will dissapear during the festive season!
Berlin User Group or rather BUG Search and Find functionality!
Get an account in the Members Area with profile description.
Enter tools of trade, what you want & location.
Avid, After Effects, Color, Final Cut Pro, Motion, Lightworks etc
How long you have been at it and what you want?
Where you are located.
So how does it work?
If you are not a meber go here
If you are a returning member please skip this step
When you are registered you can search for members.
See results depending on your search terms.
Check out profiles and connections!
Communicate with members offline. See when they are online.
Post as a member of a larger NEWS blog!
Could be interesting in light of new laws with respect to Blogging in Germany
Becasue the group is about getting past the final BUG……
as always thoughts, suggestions & feedback on paul(at)paurray.de
