Mac OS X 10.5.6 released

Apple just released Mac OS X Leopard 10.5.6. Here are the most relevant changes for video professionals (not many as we're frequently overlooked unfortunately):

Graphics

* Includes general improvements to gaming performance (I think they are referring to improved OpenGL performance in general, which affects applications like Motion and hopefully will boost poor GeForce 8800GT performance).
* Includes fixes for possible graphics distortion issues with certain ATI graphics cards.

Networking

* Improves Apple File Service performance, especially when using a home directory hosted on an AFP server. Important: If you are using Mac OS X 10.5.6 (client) to connect to a Mac OS X Server 10.4-based server, it is strongly recommended that you update the server to Mac OS X Server version 10.4.11.
* Improves the performance and reliability of TCP connections.

General

* Includes Mac OS X security improvements (always good).
* Adds a Trackpad System Preference pane for portable Macs.

See the full list here.

The changelog (which I don't have access to but was leaked on the net) for one of the beta versions of this patch listed a fix for various hiding bugs. I know several people have had a problem with Final Cut Pro where they have been unable to show it again after hiding, so it would be interesting to see if this fixes the issue.

Once again, don't install this update until it's been out for at least a week (minimum) and you've checked around internet forums to see if people have experienced any issues. When you do update, always assume the worst WILL happen and clone or backup your hard disk first. Never update in the middle of a project and don't update early if none of the issues fixed affect you.

However, it is good to install security updates as soon as possible (again, wait to see if people report problems, although this is normally rare with security updates). Luckily Apple have included the security content of this update as a separate download for those who don't want to risk upgrading their OS. It is available in Intel and PowerPC versions.

P.S. It's good to know that Apple aren't rushing to patch the XDCAM bug with Color 1.0.3 as, clearly, improving the performance and reliability of Chess is far more important ;)

Update 12/16/08: Lots of people reporting problems with this update.

Possible solution to Color 1.0.3 XDCAM issues

As reported earlier, the new Color 1.0.3 patch cannot seem to recognize XDCAM footage, reporting it as offline. Matt Bucy on the Apple discussions board seems to have come up with a potential fix though. It would appear that the problem is with the XDCAM codec that Sony's capture utility uses, and the problem goes away if you re-encode the video with Apple's flavor of the codec.

Matt recommends going to File > Media Manager and selecting Copy referenced media. You could also export to a QuickTime or put the files through Compressor (the latter being the least recommended option due to recompression taking place).



Let me know how well this works for you. Hopefully Apple will fix this soon.

Solving missing framework errors in Final Cut Studio

If one of your Final Cut Studio applications crashes the minute you open it, chances are it's down to missing frameworks. If you click the Report button on the crash dialog, it will tell you the reason. Alternatively you can fire up the Console in /Applications/Utilities to see the message.

You'll probably see a message like this:


Here's how to copy that file back:

1. Firstly, if you have another machine running Final Cut Studio, it's much easier to take the file from that machine (in this case /System/Library/PrivateFrameworks/BrowserKit.framework) and copy it to the same location on the current machine.

2. If you don't have that luxury, you will need to extract it from your installation DVD. Put the disc in the drive and open up the Terminal in /Applications/Utilities.

3. If you are using Final Cut Studio 3, type the following:


If you are using Final Cut Studio 2, type the following:


Press enter after typing cd /System/Library/PrivateFrameworks, then paste the next part as one whole line. After typing the sudo gunzip... line you may be prompted for your password.

If you are using Logic Studio, substitute Logic Studio for Final Cut Studio. If you are missing a different file, replace BrowserKit.framework with the other file's name (ProKit.framework is another common missing file).

4. If this doesn't work, replace the cd /System/Library/PrivateFrameworks line above with:


Then copy the same sudo gunzip... command from above. This will copy the file to your desktop. In the Finder, browse to /System/Library/PrivateFrameworks and copy the file from your desktop to that folder. You may be prompted for your password.

5. If problems still persist after copying the file, it is likely that Final Cut Studio is expecting a later version of the framework than the one on the DVD. The only solution in this case is to copy it from a machine running the same version of Final Cut Studio as you, or to uninstall Final Cut Studio and then reinstall it from the DVD and patch it to the latest version.

Color 1.0.3 reportedly breaking XDCAM footage

A large number of Color 1.0.3 users are reporting that the latest version breaks XDCAM footage. Apparently their XDCAM media is listed as being offline, with no way to reconnect it. The symptoms vary - some report that 30p XDCAM works fine, others report that no XDCAM works at all. Some are saying it is an issue with 1080p clips only and that 720p is fine.

Currently no-one has managed to come up with a workaround and the only suggested course of action at this stage is to uninstall Color and reinstall version 1.0.2. As far as I'm aware, that is still available from Apple's site. If you experience problems with round-tripping from FCP you will need to uninstall the entire Studio, reinstall from the disc and then ask on some forums for the old FCP 6.0.4 update (included in Pro Applications 2008-02 I believe) because, frustratingly, Apple only posts the very latest updates on their site.

This is why it is recommended to not update in the middle of a project and to read up on the patch in some forums before updating. And to be on the safe side, clone your hard disk before you update as well. We can only hope that Apple fixes this issue soon (don't hold your breath) and in the meantime, all those experiencing issues should notify Apple so they are made aware that it is affecting a large number of their users.

Update 12/14/08: See the fix here.

Detailed review of new LED Cinema Display

AppleInsider has a 5-page review of Apple's new 24-inch Cinema Display. What I particularly like about this review is that it shows the professional viewpoint as well as the consumer one.

No review of this monitor is complete without a discussion of glossy screens (and I know that's the bit everyone wants to hear), so here it is:



I'm posting this review because, if the MacBook Pro is anything to go by, Apple will probably not offer matte alternatives when it upgrades the 20" and 30" displays. It's good to hear that the new displays are at least as color-accurate as the previous generation but the glossy screen will be a deal-breaker for many people. It all depends on the environment though. The best thing to do is buy one (when a compatible Mac Pro comes out of course), try it and return it within 14 days for a refund if you cannot stand it. Because, to my mind, this sounds like a great monitor for a well-lit environment - and if you are doing color-critical work, you should be in a well-lit environment, glossy screen or otherwise.

New RED announcements

RED just announced the new Epic and Scarlet specs after their retraction of the previous announcement.

I didn't really feel like comparing the two specification-by-specification but I did notice a couple of things:

* Some prices are now lower (e.g. the 28K Epic is now $2,000 less)
* Some frame rates are now higher (e.g. 28K Epic now shoots 30 fps at 28K instead of 25). There's also been some significant ramping of frame rates at lower resolutions - e.g. the 9K Epic can now shoot 2K at 350fps!
* The fixed-lens 3K Scarlet now has a price tag - $3,000 for the body and lens and $3,750 for the whole kit (I guess this means viewfinder, battery, etc).
* Epic X now offered as an upgrade path for Red One owners only.
* Full Frame 1080p now offered.
* Time lapse and ramping now listed (don't know if they were available before or not)

So definitely some nice improvements, and no-one can complain about better specs for a lower price.

If you want to go through the announcement in greater detail, here is the latest one, and here is the old one. And here are detailed specs for the old announcement.

11-28-08 New AppleCare articles

Here are all the ProApp-related AppleCare articles from the last two weeks.

Final Cut Pro

Final Cut Pro: Creating an Easy Setup for capturing DV with 32 kHz audio - If you often need to capture DV (digital video) that has an audio sample rate of 32 kHz, you may want to create an Easy Setup in Final Cut Pro with all the necessary settings.

Final Cut Pro: Audio channel 4 may show no activity in Log and Transfer window with RED clips - When you ingest RED clips with four audio channels, the audio meter may show no activity on channel four when you preview in the Log and Transfer window.

Final Cut Pro: Restoring a DV device connection in QuickTime 7 - If you notice a loss of connectivity between Final Cut Pro or Final Cut Express and your DV camera or deck after upgrading your versions of Mac OS X and QuickTime, here's what you can do to resolve the issue.

Final Cut Server

Final Cut Server: Connecting the database to the correct local user account - Final Cut Server uses configuration data which refers to the administrative user that installed the software. This configuration data contains the User ID (UID) which is different than the username of the administrative user. There may be situations where the Final Cut Server configuration data does not match any existing UIDs of local administrative users. For proper functionality, make sure that the UID in the Final Cut Server configuration data matches the appropriate administrative user's UID.

Soundtrack

Soundtrack: About Recording Latency - Audio recorded with Soundtrack may not be in sync with existing tracks in the project. After recording an audio clip, the clip is slightly out of sync with the other tracks in the project. Typically, this occurs on computers with a single microprocessor. The latency may be more pronounced on computers with slower microprocessors.

DVD Studio Pro

DVD Studio Pro: Rules for Entering DVD@CCESS Links - The DVD@CCESS feature allows you to add additional interactivity to your DVD title when it is played on a computer. When authoring a DVD, it's important to enter the links in the correct format, or they might not work as desired.

Shake

Shake: May show version 4.1 after update to 4.1.1 on Mac OS X - The Shake 4.1.1 update affects only the QuickTime component. You may notice the Shake version number does not change across the rest of the application or its scripts.

Qmaster

Apple Qmaster: Sharing sometimes does not enable with custom shared cluster storage path - Sharing sometimes does not successfully start when you have set a custom shared cluster storage path. When you click Start Sharing in the Apple Qmaster System Preferences pane, the button dims and may not switch to Stop Sharing. If you quit System Preferences and reopen it, the Stop Sharing button may appear to be active, but the Quickcluster may not be available in Compressor.

FCS Remover 2.0.3 released

This is a bug fix update for FCS Remover, bringing it up to version 2.0.3.

It fixes the issue some Leopard users were getting where Final Cut Pro would crash upon reinstallation, citing missing frameworks, due to the latest 6.0.5 patch for FCP. This issue is now fixed.

This new version will fix the issue for future users but if you already are experiencing it, follow the steps here to fix it.

As always, we consider your feedback to be very important in the development of our products, so feel free to use the links in the Help menus of our applications to report bugs and suggest features, or use the links below.

Report a Bug
Suggest a Feature

More tools...

Pro Applications Update 2008-04

Yesterday Apple posted a big ProApp update containing updates for several applications.

Final Cut Pro 6.0.5

Improved High-Precision Rendering
If you render sequences using the high-precision video processing setting, make sure to update to Final Cut Pro 6.0.5 for improved reliability when rendering still images and footage in high-resolution formats.

Extended Metadata Support for the Panasonic AG-HMC150 Camcorder
Final Cut Pro 6.0.5 captures the additional metadata for footage recorded with the Panasonic AG-HMC150 professional AVCHD camcorder.

Improved Support for the Panasonic HDC-SD9 Camcorder
Final Cut Pro 6.0.5 provides enhanced precision and reliability when ingesting files from the Panasonic HDC-SD9 camcorder.

Improved Support for Metadata Imported from P2 Cards
Final Cut Pro 6.0.5 provides support for extended metadata that is captured on P2 cards.

However, one of the biggest features doesn't even come from Apple. RED have posted their Final Cut Studio Installer that adds native .R3D file support to FCP 6.0.5.

Compressor 3.0.5 and Qmaster 3.0.5

Using QuickClusters and Back to My Mac on the Same Computer
The QuickCluster feature of the Apple Qmaster distributed processing system is a simple and automated alternative to creating and configuring clusters manually. In previous versions of Compressor, enabling the Back to My Mac feature in Mac OS X v10.5 Leopard would remove any existing QuickClusters. This issue has been resolved. For more information about QuickClusters, see the Distributed Processing Setup guide.

Color 1.0.3

Improved Format Support

Color 1.0.3 provides support for XDCAM 422 media and for the RED plug-ins for Final Cut Studio.

The RED plug-in and accompanying documentation can be downloaded at http://www.red.com. For workflow suggestions and more information about this format, see HD and Broadcast Formats, available from the Final Cut Pro Help menu.

Improved Application Reliability
Overall application reliability has been improved, including in the following areas:

* Using trackers in the Geometry room
* Using the Reconform command
* Adjusting the Minimum and Maximum nodes in the Color FX room

Improved EDL Handling
Accuracy and reliability during EDL import have been improved.

Application of Display LUT Now Indicated Consistently
Color 1.0.3 consistently indicates when a display LUT has been applied to a project in the Project Settings tab of the Setup room.

Improved Handling of DPX Image Sequences
Color 1.0.3 provides improved reliability when reading and outputting the header information of DPX image sequences, including timecode, frame size, aspect ratio, and transfer code.

The Fix Headers Button Now Works Properly
The Fix Headers button, which appears in the clip bin of the Setup room when you select an image sequence, now correctly alters the header information of DPX image sequences.

Improved Handling of Interlaced Media
Interlaced clips with Pan & Scan adjustments in the Geometry room correctly render the exact range of clip media.

Tangent Control Surface Mappings Are Improved
The HSL qualifier and reset control surface mappings for the Tangent CP100 control surface have been fixed.

Shake 4.1.1

* This update addresses compatibility issues for QuickTime codecs greater than 8 bits.

I don't think anyone expected Shake updates but yes, you read that correctly. Apple later posted a knowledge base article clarifying that the fix was for the QuickTime component only so Shake itself will still display 4.1 as its version number. It's also worth noting that this only applies to people who applied for the Shake 4.1 crossgrade or purchased it after 4.1 came out - 4.0 owners will not be able to upgrade.

Pro Applications Update 2008-04 Release Notes

I know you're probably dying to install these updates but first, make note of the Golden Rules (TM):
* Never update in the middle of a project.
* Don't update if you don't actually need any of the features included in the update.
* Always clone or backup your system beforehand.
* Wait for at least a week to see if there are any reported problems with the patch.
* Wait even longer if you're using third party hardware or plugins e.g. the AJA Kona card or FXFactory plugins.

How to keep your job as an editor

As an editor, there are certain technical things you can do that will, in most cases, result in instant dismissal by your employer. Here are some tips on how to avoid these pitfalls.

Black frames

We've all done it - you've got the timeline zoomed out, you drag a clip and think it snapped to the end of another clip but really it snapped to a marker or overlapping bit of audio right next to it. Consequently there'll be a gap and a flash of black when the clip is played back - which producers and audiences never fail to notice.



Before you output, put the playhead at the start of the timeline and press Shift-G. This will jump the playhead to the next gap in the timeline. If you encounter a gap, press Ctrl-G to close it. If no more gaps can be found, the playhead will jump to the end of the timeline.

Unsafe luma levels

Maximum white is higher on a computer than it is on a TV. Consequently, it is possible to set white levels beyond maximum levels for NTSC broadcast. If this happens, overmodulation can occur which means that the signal can leak to radio frequencies other than the ones assigned to the TV channel, resulting in the TV company getting into big trouble with the FCC. Not surprisingly, this trouble would come your way very quickly (that's a worst-case scenario by the way).



When I am color correcting, I always switch on the luma indication in Final Cut Pro (View > Range Check > Excess Luma). This will tell you with a warning triangle and red "zebra" lines which areas are above the recommended limit. You can then use a 3-way Color Corrector to bring down the highlights until the triangle changes into a green tick.



Then, just before my project is ready for output, I create a new sequence in Final Cut Pro and nest the old sequence inside it by dragging it from the Browser into my new timeline. I then go to Effects > Video Filters > Color Correction > Broadcast Safe to make the entire nested sequence broadcast safe.

Why do I perform this step when I already made it safe earlier? Because you can't be too careful. Maybe I thought I'd corrected each one but I'd actually missed one out by mistake. Maybe I added a last-minute clip that I forgot to correct. And if you're wondering why I nest it instead of just selecting all the clips and applying the filter to all of them, that's because I might be asked to make a last-minute change right before it goes out (in the world of broadcast TV anything is possible at the last minute). Nesting the sequence ensures that everything inside that sequence will be broadcast safe, no matter what I change later on.

It's also worth mentioning that the default settings for the Broadcast Safe filter work for the vast majority of cases. It's rare to have to modify them.

Peaking audio

Like luma levels, audio levels have a maximum limit as well. If they exceed 0 dBFS on Final Cut Pro's audio meters, they will produce an audible "crunch" noise that is very ugly to hear and will instantly distract any engaged viewers.

For broadcast work, it is recommended to have your dialogue around -12 dBFS (but not lower than -18 dBFS), with very loud sounds not exceeding -6 dBFS. Film post production tends to work with a higher dynamic range so the dialogue is normally around -18 dBFS.

The most important thing, however, is that your audio doesn't exceed 0 dBFS. To ensure this, after you've completed your mix, drag the sequence from the Browser to the Viewer, then go to Mark > Audio Peaks > Mark. This will put markers in your timeline at every point where the audio exceeds 0 dBFS. This is another of those situations where even though you've already mixed it, it's so quick and easy to check for peaks that there's no reason not to do it.



To remove the markers again, go to Mark > Audio Peaks > Clear or Mark > Markers > Delete All.

Incorrect field dominance

Here's one you probably won't spot unless you are using a broadcast monitor. This is why it's important to use a broadcast monitor or at worst, a regular TV, to view your work before output.

Interlaced video uses fields to display the image. There is a field for odd-numbered lines and a field for even-numbered lines, and they are displayed one after the other for every frame. But which one should be displayed first?

NTSC video uses the Lower (Even) field dominance, meaning it shows the even-numbered lines first. If you add a clip to your timeline that has Upper (Odd) field dominance, its fields will be reversed and the motion between those fields will be reversed, so moving objects will tend to judder as they move forwards and then backwards. PAL and HD video use the Upper (Odd) field dominance, with the exception of DV-PAL, which uses Lower (Even).

This is generally not a problem with footage acquired from an NTSC or PAL camera, as it will already have been shot with the correct field dominance. The problem usually occurs with motion graphics and visual effects sequences because they have been created in software that can create both types of footage and has to be manually told which dominance it should use.

If you have been given footage that has the wrong field dominance, first try to obtain correct footage from the person who originally supplied it. If this is not possible, go to Effects > Video Filters > Video > Shift Fields to swap the fields around.

In some cases, Final Cut Pro can get confused and think that a file with the correct dominance is incorrect, so it automatically adds a Shift Fields filter when you import it. If you suspect that the file is actually correct, first check the clip for automatically-assigned filters and remove them.

Finally, it's worth mentioning that when you drag the first clip to a new sequence, Final Cut Pro 6 will ask you to change the sequence settings to match the clip if they differ. A lot of people click Yes without thinking, but taking a moment to check whether the clip in question does actually have the correct settings will save a lot of head-scratching later on.

I hope this article has given you ideas on how to avoid these problems because in a lot of cases, mistakes aren't made through ignorance but instead lack of time, lapses in concentration, tiredness, etc. That's why most of the steps in this article are very quick and easy ways of double-checking after you've already implemented corrections. These are important aspects to keep under control so it helps to have a range of defensive measures in place. When your job could potentially be on the line, you can't double-check often enough.