Dear final BUG members, once again you´re final BUG guine pigs are there for you!
We will be going to the outer limits of post production!
Slowing things down with Stop Motion and sprucing those drab images up with Magic Bullet.
With Ayut Sensoy from finalcutproject.de showing us how to work with iStop Motion.
www.finalcutprojekt.de/
www.application-systems.de/istopmotion2/
Paul is back with his report from IBC and an introduction to Magic Bullet Suite 2008
www.paurray.de/
www.redgiantsoftware.com/magic-bullet-suite/
the interface
before
after
Could post nicer pictures but don´t want copyright problems 
Got a technical FCP or related problem?
Then bring ALL the relevant files with you to the meeting?
Perhaps the group has the answer your looking for!
Once again our meeting at the Akademie der Künste:
TUESDAY in the Club Room
Last but by no means least Uwe will hopefully fish another Gem out of the ADK archive.
Finally, the bar is once again open at the ADK.
07.10.08
18 – 22 Hours
Hanseatenweg 10
10557 Berlin
Contact : paul(at)paurray.de
Surprise, surprise , RED was also a theme at the Super Meet. Clemens Seiz from final BUG was there and made the following notes
“Miguel de Olaso from Spain www.redlab.es, also known to Red Digital Cinema Camera users as MacGregor, showed footage from the Red One and talked briefly on the workflow he used to get the spot he filmed in the morning on air the same day.
To save the time it takes to convert the Red Raw footage to ProRes422 (about ten times real time on the fastest MacPro) MacGregor edited the raw files in FCP using the Quicktime Redcodec. This codec can pull proxies from the raw footage in half or quater resolution. He used quater res that is 1024 *768 pixels. In this size the files run smoothly even on a Macbook Pro. So he could edit and finish the spot of a bathing beauty walking down the beach (in slowmotion)
The final export was done as Qicktime Pal Prores 422 (HQ) With the next version of Final Cut Studio comong soon it will be possible to grade the shots in Color. The new Color version will have a red Tab in the primary room where you can change the look of your redcode raw files the same way as in Redcine (like adobe lightroom but for moving pictures)
So the next thing I would like to see is FCP with 4K resolution and up to 16 Bit Colordepth (like adobe Premiere CS4)”
Clemens Seiz
A good overview of a current main stream red workflow is to be found here…
www.studiodaily.com/blog/?p=611
