I’ve been saving a lot of time by using the QuickCluster in Compressor so I thought I’d write a little post about it and let others know about this little-known secret. When you’re working with compressed footage that comes from DSLRs (or pretty much any video source that’s around these days) then you’ll typically need to transcode the footage to an editable format. Otherwise you will be dealing with really choppy footage in your timeline that will constantly require rendering. FCPX allows you to optimize your media during import and transcode in the background, but there’s actually a faster way to transcode your footage by using Compressor, and an even faster way to do it by using a QuickCluster in Compressor. In this article I’ll show you how it’s accomplished in a few easy steps.

I have a clip that was shot on a DSLR so I need to transcode it to Apple ProRes 422 for editing. The clip is 5:43 long. When I drag the clip into Compressor 4 and apply the Apple ProRes 422 setting and submit the job without making any changes to the default settings then the clip takes 9:56 to transcode on a 8 core Mac Pro with 24GB RAM. Here’s a screenshot of Activity Monitor.

If I try to transcode the same clip, but this time I apply shared processing using a QuickCluster then the clip only takes 6:16 to transcode. Think about that when you’re transcoding several clips in a batch. This could shave hours of transcoding time off your workflow. Let me show you how.

First you drag the clip into Compressor and apply the Apple ProRes 422 setting like you would normally do. Your Compressor window will look like the screenshot below with the Apple ProRes 422 setting applied.

Now go to the Apple Qmaster menu and select Share This Computer

From the Share This Computer window check the boxes like the screenshot below. Make sure that you note what you’re naming the cluster for reference in a step later on. The cluster is named Mac Pro Cluster in this exercise.

Click on the Compressor options button and select a number of instances from the drop down. The Compressor User Manual states that a general rule is to allow two GB of memory for each instance. I have 24GB of RAM on the Mac Pro so I’ll choose 12 instances from the drop-down option.

Then I click OK and Compressor will ask for your administrator password to make the changes.

After that you can submit the job. Select the Mac Pro Cluster that we named in an earlier step for the cluster in the drop down menu of the submit window and then click the submit button to submit the transcoding job. You’ll be asked to enter your password again to make changes to the system. Now if you open the Finder window you see a new Shared network connected. This puppy is cranking out some processing power now! Check out Activity Monitor’s specs now… Whoa daddy!

Take the Final Cut Pro X Quiz

I’ve had the optical drive in every Mac Pro that I’ve owned because once in a while there is a time that I need to burn a DVD or install software from physical disk media. Those situations are becoming more seldom as time passes. I also have a pet-peeve with the Mac Pro that directly relates to the optical drive. Let me explain: When I’m working on the keyboard I’m usually a little turbo-typer. I’ve become known as “Jasper and his quick keys” by others. In my frenzy I frequently hit the eject key on the keyboard by mistake in the top-right corner when I really want to press the delete key. This causes the optical drive to open on the Mac Pro everytime it happens and it’s very annoying. I have a MacBook Pro with an optical drive for burning DVDs so I have decided to replace the optical drive in the Mac Pro with two Hard Drives in the optical drive bay. Internal SATA hard drives are available in capacities as large as 4TB. With this method you can have a total of 6 hard drives installed in the Mac Pro, which can potentially give you up to 24TB of storage on your Mac Pro. Here’s a step-by-step of how I accomplished this task on the Mac Pro.

The first thing you need to do is turn off your Mac and open the case. Pull the optical drive sled out of the optical drive bay and then unplug the SATA and power cord that is connected to the optical drive. This will free the sled from its tether to the Mac Pro. Check out the image below.

This step is pretty easy. There’s 2 screws on each side of the optical drive sled that attaches the optical drive to the optical drive sled. Remove these screws and then slide the optical drive out of the optical drive sled. When you’re done with this step you’ll have an empty optical drive sled. Be careful when you’re removing the screws because the optical drive will be flopping around in the optical drive sled when you’re removing the screws and the edges of the optical drive sled are kind of sharp so be careful not to cut yourself from the edges of the optical drive sled when you’re removing the optical drive.

I bought this cool little piece called an X-Swing that allows you to connect two hard drives side-by-side for this project. The X-Swing is basically just two pieces of aluminum. It’s got cool little rubber feet that kind of loosely pop into nipples on the X-Swing and the rubber feet have holes on the other side that allow you to screw the feet into the optical drive bay. This method allows the connection to absorb noises that are caused by vibrations from the hard drives. It also prolongs the lifespan of the hard drives by limiting vibrations in the hard drive that would otherwise contribute to inevitable hard drive failure.

The X-Swing is discontinued now but you can get a similar item at OWC.

Another thing to note when you connect the X-Swing to the hard drives is that you want the connections of both hard drives to be lined up on the same side. That way you won’t have to twist the connection cable around to try and connect the hard drives to the Mac Pro later on. Check out the pics below of the X-Swing connected to the hard drives.

This step is pretty basic but there’s a few things I wanted to point out. Remember those rubber feet on the X-Swing that I was talking about in the last step? When the X-Swing is attached to the hard drives and you’re attaching this combination to the optical drive sled you should be careful about those shock-absorbing rubber feet because they can easily pop out of the nipples that connect them to the X-Swing. I usually don’t have a problem with this step as long as I’m careful that the rubber feet do not pop out of the nipples in the X-Swing. Here’s a pic of the hard drives attached to the optical drive sled. There’s not enough room to fit two 3.5″ hard drives AND an optical drive in the optical drive sled so bye-bye optical drive.

Slip that puppy back into the area formerly known as the optical drive bay and plug in the hard drives to the SATA/Power connectors that are available. Put the cover back on the case and fire up your Mac Pro. I went to Disk Utility and created a RAID for these hard drives.

Take the Final Cut Pro X Quiz

Apple met with trainer Larry Jordan this morning and shared some upcoming plans for Final Cut Pro X in 2012. The following features are expected sometime this year:

• Multichannel Audio Editing Tools
• Dual Viewers
• MXF Plug-in Support
• RED camera support

Some of the details were confirmations from Apple regarding features that have been released in the most recent version 10.0.4. Specifically that broadcast monitoring has significantly improved in this current version, so Apple removed the term “beta” from the feature.

Those were the only features officially announced by Apple, but Apple indicated that those wouldn’t be the only new features coming this year. Apple did not provide any information regarding any new upcoming hardware that may be released.

The NAB Show is an annual trade show produced by the National Association of Broadcasters. It takes place in April at the Las Vegas Convention Center in Las Vegas, Nevada. Apple was at NAB last year to introduce Final Cut Pro X and it appears they have at least some presence at the show this year as well. The NAB runs through April 19th.

Take the Final Cut Pro X Quiz

The US Court of Appeals on Wednesday issued a ruling holding that a former programmer did not violate federal law prohibiting theft of trade secrets when he copied portions of his former employer’s confidential source code.

In June 2009, Aleynikov uploaded 500,000 lines of confidential source code from Goldman Sachs’s computer system on his last day at work. Later he downloaded the code to his home computer and brought it to his new employer for their use. In its opinion, the court found that the transmission of intangible data does not constitute theft under the National Stolen Property Act (NSPA):

The NSPA does not criminalize the theft of intangible things. … By uploading Goldman’s proprietary source code to a computer server in Germany, Aleynikov stole purely intangible property embodied in a purely intangible format. There was no allegation that he physically seized anything tangible from Goldman. … We decline to stretch or update statutory words of plain and ordinary meaning in order to better accommodate the digital age.

Aleynikov was also acquitted under the Economic Espionage Act because the source code was not sufficiently related to the product produced by his former employer Goldman Sachs.

Should stealing code be illegal or should all code just be open source? The original person still has their code, so how can it be stolen? All code originates from other code. So if you want to say that code is stolen then all code is stolen. Share your thoughts in the comments below.

This training series is a great way to learn the software and a handy study guide to help you prepare for the Apple Pro Certification Exam. I am an Apple Certified Trainer for Final Cut Pro X and I guide you through the interface, workflows, and toolsets used to edit with the application. Once you are finished following the lessons in the training series you should have enough knowledge to pass the Apple Pro Certification exam and earn the Apple Certified Pro certificate.

The FCPX Video Training Series is delivered as a digital download in 1080×720 format and you also get the training series in your pocket via streaming iOS. You never have to worry about loading the videos to your iOS device because you can stream them from our iPhone web app. Oh yeah… you also get all the pro features of the iPhone web app when you purchase the FCPX Training.

The training is available as a secure download for $25 at http://bit.ly/FCPX-Training or if you just want the iPhone app then you can get the FCPX Training in the iPhone upgrade for $5 at http://bit.ly/FCPX-iPhone

FCPX TRAINING GIVEAWAY RULES
In order to have a chance of winning, you must comply to the following rules:
You have two methods of winning! Enter both ways to double your chances of winning.

Take the FCPX Quiz to win!

• Take the quiz at http://FinalCutProX.net/quiz between April 13, 2012 and April 20, 2012.
• Two (2) winners that have taken the FCPX quiz will be chosen on April 21, 2012.
• The winners will be contacted by someone from either EditingWhiz or FinalCutProX.net.
• If a winner does not reply back within one (1) week, then a new winner will be chosen.
• The prize is one (1) copy of the Final Cut Pro X Training Series from FinalCutProX.net for four (4) winners.

Tweet to win!

• Tweet between April 13, 2012 and April 20, 2012.
• Two (2) winners will be chosen on April 21, 2012 for Twitter.

Follow @TheEditingWhiz and Follow @FinalCutProXnet on Twitter.
Tweet

Have you ever thought about becoming an Apple Certified Pro for Final Cut Pro X?

Want to test your knowledge?

Take a practice exam to see how much you know about Final Cut Pro X and prepare yourself for the Apple Certification exam by checking out our Final Cut Pro X Video Training Series.

The Final Cut Pro X quiz is a free quiz that consists of 10 multiple choice questions.

The questions are inspired from the Final Cut Pro X Certification Preparation exam and randomly-selected from our database.

This quiz will give you an idea of the type of questions that are on the Apple Certified Pro Final Cut Pro X Level One Certification Exam.

This quiz is generously provided by FinalCutProX.net for free.

I have created a facebook AND twitter application for this quiz so users can take the quiz either through their facebook or twitter connection. The quiz is free and has 10 questions. Questions are selected at random and there’s combination of multiple choice, true/false, and “pin the tail on the donkey” type questions. There is a database of over 50 questions that I have created with the list of questions continuously growing.

Each correct question is scored as one point. When you complete the quiz you receive your score as a percentage, just like the Apple Pro Certification exam. Your score is published when you complete the quiz and you can retake the quiz as many times as you’d like. I’m also working on a pro version of the Final Cut Pro X Quiz for users that purchase the Final Cut Pro X Video Training Series.

The pro quiz will have a total of 50 questions that are more difficult and the pro quiz will also be ad-free. The pro quiz will contain a “report card” where users can login (connect via facebook or twitter) to see a detailed list of their completed quiz(es) including their questions and answers to review so that they can focus on areas of study for the Apple Pro Certification Exam at http:/training.apple.com

I’ve spent over a month producing this training series for Final Cut Pro X. The training is recommended for beginner to mid-level users of Final Cut Pro X. Whether you’re just starting out or you want to get comfortable working with the project to prepare for the Apple Pro Certification exam, these video lessons will walk you through the steps of working on a project in Final Cut Pro X. You can watch some of the first lessons for free on the Final Cut Pro Tutorial page and the rest of the lessons are immediately available when you purchase the training series.

The lessons are available to download immediately after your purchase has been received. Download the lessons by going to the order history page after completing your purchase to access your purchased downloads. You can access your downloads at anytime from the order history page.

The Final Cut Pro X Training Series also includes a free upgrade to the iPhone web app!

Yep, you read that right. So anyone that ever purchases the FCPX training series will also get a free upgrade to all of the pro features on the iPhone web app. FCPX Video Training is also available as secure streaming on iOS now too so users that purchase the iPhone pro upgrade for $5 get the FCPX training as well.

The FCPX Training Series is available for $25. Enter “fcpx” as an introductory promo code during checkout to get 20% off the training series. The difference between the FCPX training series for $25 on the website and the iPhone pro web app for $5 is that you also get to download 1920×1080 High-Quality video lessons with the $25 version.

The $15,000 1D C, which has the same chassis and still shooting features of its less-abled cousin, the EOS-1D X, pipes 4096 x 2160 8-bit 4:2:2 video to a CF card at 24 fps. Unlike the X, however, the C swaps a headphone jack for the X’s PC socket, that’s usually used for hooking up strobes. The higher-end C500 requires a dedicated external recorder, but offers two full-RAW output options: 4096 x 2960, that will be better suited for motion picture capture, and 3840 x 2160 for 4K TV. Both of these modes offer 10-bit 4:4:4 at 60 frames-per-second. There’s also a half-RAW option, at 4096 x 1080 or 3840 x 1080 resolutions, also 10-bit 4:4:4, but at 120 fps. The C500 also includes dual CF slots, but that recording option is only available for 1080p (which can be captured to CF concurrently). Both cameras support Canon Log Gamma, empowering colorists to correct color in post production with more versatility by capturing additional information and a higher dynamic range.

While the 1D C offers the same still capabilities as the 1D X, including the new focus system and sensitivity through ISO 204,800, the camera can only jump up to ISO 25,600 in video mode. Likewise, the C500 offers the same ISO range as the C300 — ISO 320-20,000. Not planning to exclusively capture 4k footage? The cameras are also fully equipped for shooting 1080p. The C500 offers both 2048 x 1080 and 1920 x 1080 with either 12-bit or 10-bit 4:4:4 60p compressed RAW. There’s also an option to jump up to 120 frames-per-second, with 12-bit or 10-bit 4:2:2 YCC output. With the 1D C, you can shoot standard-format 1080p video at an uncompressed setting with 8-bit 4:2:2 Clean HD via HDMI, or you can send 4:2:0 1080p clips to the CF card — both at up to 60 fps.

Two new lenses will soon join the Cinema EOS family as well. A 15.5-47mm T/2.8 and 30-105mm T/2.8 have hit the development phase, so there’s no availability to share at this point, though we do know that both optics will be significantly lighter than the pair announced at last year’s NAB, and ship in EF or PL mounts (the latter of which can be used with any PL-mount camera). It’s important to note that while the EF-mount versions will fit the 1D C, they can’t be used for shooting stills, mainly due to vignetting. You’ll also need to switch the 1D into Super 35 crop mode when shooting 4K, to avoid the same effect. Naturally, the lenses will function normally in all modes with the C300 and C500.

Both the C500 and 1D C are set to ship by the end of 2012, though we’re told to expect the latter camera first, since the C500 is still under development. Unfortunately we don’t have pricing for the C500 or lenses just yet, though we’re told that the camera will be significantly costlier than the $16,000 C300 — both use identical sensors, but the 4K model requires additional components — Canon has confirmed 1D C pricing at a whopping $15,000, compared to $6,800 for 1D X.

Canon EOS C500 Press Release:

Canon EOS-1D C Press Release:

Canon Lens Press Release:

@TheEditingWhiz and @ContourShuttle have teamed up to give away one free contour ShuttlePRO V2. Visit contourdesign.com to see all of their amazing products.

All you have to do to enter for your chance to win a free Contour ShuttlePRO v2 is follow the rules outlined by editingwhiz.com listed below.

SHUTTLEPRO V2 GIVEAWAY RULES
This giveaway is going to be done through Twitter. If you do not own a Twitter account, it is very easy to sign up. In order to have a chance of winning, you must comply with the following rules:

• Follow both @TheEditingWhiz and @ContourShuttle on Twitter.

• Tweet the message marked below.
• Tweet by April 9th, 2012.
• One (1) winner will be chosen on April 10th, 2012.
• The winner will be notified via a direct message from @TheEditingWhiz with details on how to receive the prize.
• The prize is one (1) Contour Design ShuttlePRO v2, black.

All you have to do is click the tweet button below to be included in the contest. The counter on the tweet button shows how many people have entered the contest so far, which will give you an idea of your odds of winning this fantastic plugin. mFlare works in Final Cut Pro 7, Final Cut Pro X, Motion 4, Motion 5, and even Adobe Photoshop CS4 & CS5!

10 lucky winners will be selected by Szymon over at motionVFX.com.

UPDATE: The contest ended on Sunday and 10 winners have been announced. The tweet button to enter the contest has been removed from this post. 165 entries were made for the contest.

Find out more about mFlare here and check out their demo video below.

Important Notes About Photoshop CS6 Beta

Photoshop CS6 beta includes all the features in Photoshop CS6 and Photoshop CS6 Extended. Take this opportunity to try out the 3D image editing and quantitative image analysis capabilities of Photoshop Extended*, but note that—while these features will be included in the shipping version of Photoshop CS6 Extended—they will not be included in the shipping version of Photoshop CS6.

Adobe ID login and online activation are required either at installation or within seven days after your first launch of the Photoshop CS6 beta. The same requirements will be in place for the shipping version of Photoshop CS6 when it is released. Your Adobe ID provides multiple benefits, including an easy way to access your serial numbers, the Adobe.com community, and the upcoming Adobe Creative Cloud™ membership.

Photoshop CS6 and Photoshop CS6 Extended will be part of the Adobe Creative Suite®, and Photoshop CS6 Extended will be part of Adobe Creative Cloud membership. Both Photoshop editions will also be available separately.

Frequently Asked Questions

What is the Photoshop CS6 beta?

The Photoshop CS6 software beta contains features from the next shipping version of Photoshop and Photoshop Extended software, the professional standard in digital imaging, to be released in spring 2012. The Photoshop CS6 beta is available to our customers on both Mac and Microsoft® Windows® platforms and with support for either an English or a Japanese interface.

Do I need a serial number to install the Photoshop CS6 beta?

No. When you begin the Photoshop CS6 beta installation process, you will be presented with a Welcome Screen. To install the Photoshop CS6 beta, simply select the option labeled “Try. I want to try Adobe Photoshop CS6 for a limited time.” Do not select the option labeled “Install. I have a serial number.”

I have installed the Photoshop CS6 beta. How do I activate it?

You are prompted to activate the Photoshop CS6 beta as part of installation. The following activation requirements will need to be completed within seven days after first launch of the Photoshop CS6 beta or it will stop working: Log in with an Adobe ID and Activate the product online. If you do not have an Adobe ID, you will be prompted to create one as part of the Photoshop CS6 beta installation and activation process. Once you have completed the activation process, you no longer need to be online to use the beta.

The box looks like the earlier versions of the Mac Mini when it had an optical drive. Yes folks, the AMIGA has a blu-ray optical drive along with these tech specs:

• MODEL: Commodore AMIGA mini
• CPU SUPPORT: Intel i7-2700k 3.5 Ghz Quad-Core (3.9Ghz Turboboost)
• MOTHERBOARD CORE LOGIC: Intel Z68 Express
• MEMORY: 16Gb RAM DDR3 1333MHz
• HDD SUPPORT: 1 Tb SATA Hard Disk Drive. (or optional 300 or 600 Gig SSD)
• VIDEO & GRAPHICS: NVIDIA® GeForce® GT 430 GPU with 1GB DDR3
• NETWORKING: 10/100/1000Mbps Ethernet port
• WIRELESS: 802.11n (300 Mb/s) WiFi. 2 Antennae

The computer sells in several different package options including the barebones chassis w/ blu-ray drive for $345 all the way up to the i7-2700K 3.5Ghz with 16GB RAM and 600GB SSD drive for $2990, which also includes the Commodore OS Vision pre-installed with 2 restore disks. There’s also room for 2×2.5″ hard drives.

The base model price has been reduced by $500 overnight since its introduction noting consumer outcry.

Commodore is also introducing a new slim keyboard computer. From Commodore:

“It’s hard to believe it’s a Computer at all.

If you thought computers had to be big, bulky and noisy then you’ve been mistaken. The VIC-Slim is a fully functional computer the size of a standard full-length keyboard, capable of running modern PC software. Despite its diminutive size it packs a lot of punch, featuring Intel’s new 2.13Ghz Dual Core Atom D2700 processor, fast DDR3 memory, and integrated WiFi (802.11b/g/n). Simply connect this computer keyboard to any TV via HDMI or any size computer monitor and you’re ready to run.”

Check them out at http://www.commodoreusa.net

This video shows how scientists at the MIT Media Lab reconstruct a hidden object using scattered laser light. Future applications may include seeing in dangerous or inaccessible locations, such as inside machinery with moving parts, or in highly contaminated areas like your siblings bedroom.

The application uses XML 1.1 metadata from Final Cut Pro X that allows it to provide conversion to a Pro Tools session, with planned support for audio gain and key frames.

Unlimited numbers of audio Roles in Final Cut Pro X are converted into Pro Tools tracks, and are conveniently sorted by role name. Allowing sound designers and mixers to start working immediately. Audio edits are translated to a precision of one millisecond ensuring that even sub-frame edits are faithfully translated and synchronization is maintained. The tool also gives a warning when it comes across elements of a sequence that it currently doesn’t support such as gain, panning, fades, time maps, effects and markers. While using the tool you must remember that auditions must be finalized first before exporting the XML to X2Pro.

Multicam Clips are also supported and translated to Pro Tools but requires Final Cut Pro 10.0.3.

“Only audio media is translated. We recommend rendering an off-line or proxy version of the flattened video and exporting that if a reference is needed within Pro Tools.”

X2Pro is available on the Mac App Store for a whopping $69.99 for a limited time.

Watch streaming video from today’s special event.

Here’s a little info about the current version that is available. First off the app is a web app so you access it by visiting http://FCPX.info from an iPhone, iPad, or iPod Touch.

There’s areas that are free. Some areas require connection through facebook or twitter, which is free, and other areas require a paid upgrade to access. There’s an entire keyboard shortcut library for Final Cut Pro 7, Final Cut Pro X, Motion 5. Users that upgrade can browse through over 1,500 keyboard commands and save commands to their favorites for quick reference. There’s also a video file size calculator to find out the file size for many popular editing formats and a DVD bitrate Calculator to show you bitrate settings that you can use to fit your files onto media.

I am an Apple Certified Trainer for Final Cut Pro X and Motion 5 and I am currently working on a new video training series for Final Cut Pro X and Motion. I have developed secure video streaming through the iPhone web app that is coming in the v.3.1 update so people that purchase the FCPX training series will see a button appear where they can view the training series from their iOS device any time they have an internet connection on their iOS device. To prevent piracy the videos are securely streamed through the iOS device using server side scripting so there’s no way to access the videos unless you have purchased the video training series. Users that purchase the training series can also download the videos to their computer by visiting their Order History.

Currently over 800 million users have a facebook profile. Connection though the FCPX.info iPhone web app is made securely through facebook or twitter. Security is very important to us. We never see your facebook password and the connection method we use prevents new users from having to create yet another account to access our web services. When you connect through facebook you will notice that the URL in mobile safari is facebook.com and connection is sent through secure socket layer using 256 bit encryption, which is a fb API requirement for application development. You only have to connect with facebook once on your iOS device to have access to pro features and connection to the web app also connects you to our facebook application located at https://apps.facebook.com/finalcutprox that offers additional benefits for desktop users.

Access the web app today by visiting http://FCPX.info from your iOS device. For the month of March you can enter promo code “ios” during checkout to get $$$ off your purchase.

From Alex’s website:

“Just export your project as .fcpxml (File > Export XML), drag it onto the dock icon, select the clip you’d like to export, and it’ll create and open a new Motion project, setup with the right length, clip, and frame rate. It’s not perfect, but it saves a lot of time setting up projects and copying information by hand.”

You can let him know if you have any issues. Like Alex says, the software isn’t perfect, but it looks promising for some. From reading through the comments on his website it looks like there’s a current issue in the beta software for some users where they experience a simple freeze frame for the duration of the sent clip instead of video of the clip. We’ll keep and eye on this beta software for a little while and see if any patches are released to handle this issue. We gave it a test run with Lion and FCPX 10.0.3 and it appears to send to Motion without issues.

Alex is offering the app for free but he’s asking for a donation. The donation button is below if you want to send him some beer money for making this cool app. Maybe it’ll help him work out the kinks to get it into the App Store.

Mercedes has produced a commercial to generate awareness of their 0.0 emissions F-Cell model by placing a wall of LEDs on the side of the vehicle and mounting a Canon 5D Mark II on the other side. While the vehicle drives the images that are captured on the 5D Mark II are projected onto the LED lights on the other side to create the illusion that the vehicle is invisible to onlookers. Check out the video.

“ClipExporter opens exported Final Cut Pro X projects (fcpxml) and exports each clip as a Quicktime reference movie, Nuke file or Syntheyes importable file. It creates shot based folders with custom subfolders and extends each clip with handle frames.”

Check out this demo video to see how ClipExporter works.

Here’s a list of Features, Known issues, and System Requirements

Features

• Exports Quicktime reference movies.
• Exports Nuke files. All in-/out-frames and timeline positions match your exported Final Cut Pro X project.
• Export for Syntheyes. A custom (.synInfo) file format is created for import in Syntheyes. Therefore an importer sizzle-script is required, which can be downloaded here.
• Adds handle frames (optionally). Extends each clip length by a given number of frames.
• Creates shot based folders with naming conventions.
• Creates subfolders (optionally).
• Saves disc space by refering to the original source media. No files are copied.

Known issues

• Retimed clips are not supported.
• Effects, translations, animations and every other Final Cut Pro X related modification on a clip will be discarded.
• Video-clips with unsupported or odd fps (frames per second) values could cause inaccurate timming results. We encountered such problems while using unconverted iPhone videos that were shot with the built-in camera app.
• Nuke export only: using compound, multicam or audition clips and not having the clips on the primary storyline will result in odd Nuke timeline positions. This does not affect the in- / out-points and durations./li>

System Requirements
You need at least Final Cut Pro X v10.0.1 and a Mac running OS X 10.6.8 or above.

Download ClipExporter now in the Mac App Store for $15.99.

Video courtesy endgadget.com

Along with the 5D Mark III, Canon also announced some new accessories.

Speedlite 600EX-RT ($629.99, March): This replaces the 580EXII at the top of Canon’s flash offerings, finally incorporating wireless flash mastery. It supports radio or line-of-sight and five groups of flashes on 16 channels.

Speedlite Transmitter ST-E3-RT ($470, March): This is essentially the 600EX-RT without the flash.

Battery Grip BG-E11 ($490, April): Though the 5DM3 takes the same batteries as the 5DM2, the grip’s been updated with a duplicated multi controller.

Wireless Transmitter WFT-E7A ($849, April): This adds a lot of the wireless and wired Ethernet capabilities that come built-in to the 1D X, including time syncing, FTP, EOS Utility mode, WFT Server, and Media Server capabilities.

GPS GP-EP2 ($390, April): A hot-shoe-based GPS receiver that supports GPS logging.

Canon’s press release:

CANON U.S.A. ANNOUNCES THE HIGHLY ANTICIPATED EOS 5D MARK III DIGITAL SLR CAMERA

Featuring Improved Image Quality, a 61-Point High Density Reticular AF, Six fps High-Speed
Continuous Shooting and Enhanced HD Video Recording Features

LAKE SUCCESS, N.Y., March 2, 2012– On the 25th anniversary of its world-renowned EOS System, Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce its latest model, the new EOS 5D Mark III Digital SLR Camera. Positioned between the extremely popular EOS 5D Mark II and Canon’s top-of-the-line professional EOS-1D X model, the EOS 5D Mark III delivers superb image quality, thanks to a new 22.3-megapixel full-frame Canon CMOS sensor, a high-performance DIGIC 5+ Imaging Processor, a 61-point High Density Reticular Autofocus (AF) System and six frames-per-second (fps) continuous shooting speed. Building upon the trailblazing success of the EOS 5D Mark II, the EOS 5D Mark III also incorporates enhanced video features for professionals in the fields of cinematography, television production and documentary filmmaking, including better noise reduction, longer recording times and a built-in headphone jack for audio monitoring. The EOS 5D Mark III is Canon’s answer to hundreds of thousands of advanced amateurs and emerging professionals looking for a compact, high-quality camera system to help them achieve their artistic vision, whether it be through still or video imagery. The EOS 5D Mark III introduction coincides with Canon’s 25th anniversary celebration of the EOS camera system. Canon’s award-winning EOS system first debuted in March of 1987 with the introduction of the EOS 650 SLR camera and three EF lenses.

“We are extremely excited to announce the highly anticipated follow-up to our EOS 5D Mark II, a camera which has been called a ‘game-changer’ in most professional photography and videography circles. The EOS 5D Mark III will carry on that tradition, delivering better and more advanced features, helping our customers achieve excellent image quality for stills and video,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

The EOS 5D Mark III inherits many features from Canon’s recently announced flagship DSLR, the EOS- 1D X, including a DIGIC 5+ Imaging Processor and a high-performance 61-point High Density Reticular AF array with up to 41 cross-type points and five dual cross-type points available, depending on the lens in use.

The enhanced processing power enables fast continuous shooting of up to six fps, exceeding the speed of the EOS 5D Mark II model by more than 50 percent, and with improved weather resistance the EOS 5D Mark III is a serious option for sports and wildlife photographers.

EOS 5D Mark III Video: The Legacy Continues
The EOS 5D Mark II blazed the trail for EOS cameras and Canon to enter the professional video and cinema markets, paving the way for Canon’s recent introduction of the Cinema EOS system of cameras and lenses. Now, the EOS 5D Mark III continues Canon’s commitment to these new markets with new and requested features from cinematographers, television production professionals and independent filmmakers. This new model captures 1080p Full HD video at 24p (23.976), 25p, and 30p (29.97) fps; 720p HD recording at 60 (59.94) and 50 fps; and SD recording at 30 (29.97) and 25 fps, giving cinematographers and videographers more flexibility and options for video capture.

The EOS 5D Mark III includes new H.264 video compression formats to simplify and speed up post-production work: intraframe (ALL-I) compression for an editing-friendly format and interframe (IPB) compression for superior data storage efficiency, giving professionals options to help achieve their ideal workflow. Like the EOS-1D X, the 5D Mark III also includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing video footage from multiple cameras and separate audio recordings to be synced together in post production.

The new full-frame CMOS sensor and DIGIC 5+ processor have enhanced the camera’s image processing performance over the 5D Mark II, significantly reducing moiré and color artifacts in scenes with horizontal lines. The video footage produced will exhibit less moiré than seen in previous DSLR models, resulting in a significant improvement in HD video quality. Accommodating documentary filmmakers, and event videographers using EOS DSLR cameras, the 5D Mark III includes the ability to record video continuously up to 29 minutes and 59 seconds across multiple 4GB files. Long-form filmmakers will enjoy the camera’s automatic file splitting in combination with the extended memory capacity offered by dual card slots.

The Canon EOS 5D Mark III also includes manual audio level control with 64 levels, adjustable both before and during movie recording. There is also an automatic audio level setting, or sound recording can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input. Notably, the EOS 5D Mark III is the first EOS Digital SLR to feature a built-in headphone jack for real-time audio monitoring during video capture.

Newly Developed Canon CMOS Sensor
With its completely new 22.3-megapixel full-frame Canon CMOS image sensor, the EOS 5D Mark III becomes the highest resolution Canon Digital SLR released to date. It is eminently suitable for a wide variety of assignments including weddings and portraits, nature and wildlife, travel and landscapes as well as commercial and industrial photography. With a gapless microlens design, a new photodiode structure and improved on-chip noise reduction, the new sensor achieves higher sensitivity and lower noise levels for both RAW image data as well as in-camera JPEGs and EOS Movies compared to the 5D Mark II. The result is outstanding image quality in all shooting conditions, even low light. An eight-channel readout doubles the speed of image data throughput from the sensor to the DIGIC 5+ processor, resulting in better video image quality as well as six fps for still photos.

The low-light capability of the EOS 5D Mark III is evident in its incredible ISO range and image quality in poor lighting conditions. Adjustable from ISO 100 to 25,600 within its standard range, the new model also offers a low ISO 50 setting for studio and landscape photography and two extended ISO settings of 51,200 and 102,400, well suited for law enforcement, government or forensic field applications.

The new 5D Mark III is also equipped with Canon’s EOS Integrated Cleaning System, featuring a Self Cleaning Sensor Unit with a fluorine coating that repels dust and dirt particles.

Canon-Exclusive DIGIC 5+ Imaging Processor
The EOS 5D Mark III’s new DIGIC 5+ Imaging Processor is 17 times faster than the DIGIC 4.The EOS 5D Mark III uses that extra speed not only for improved image quality, but also to add no less than nine new features that do not exist on the 5D Mark II. These new features include six fps continuous shooting, HDR and Multiple Exposure modes, in-camera RAW processing, a comparative playback function, Scene Intelligent Auto mode, two forms of movie compression, and support for high-speed UDMA 7 Compact Flash memory cards.

Another extremely valuable feature enhanced by the DIGIC 5+ Imaging Processor is the EOS 5D Mark III’s choice of reduced resolution M-RAW (10.5 megapixel) and S-RAW (5.5 megapixel) recording modes. These settings are particularly useful to wedding photographers for candid photos that do not require the EOS 5D Mark III’s 22 megapixel full resolution, because they take up less space on the memory cards and speed up post-processing without losing the critical benefits of RAW image data, such as highlight and shadow control as well as white balance adjustment. M-RAW and S-RAW also preserve the full field of view rather than cropping the image or resorting to JPEG mode to reduce resolution.

High-Performance 61-Point High Density Reticular AF
For still photographers, Canon has included its new 61-point High Density Reticular AF System, originally introduced with the top-of-the-line EOS-1D X professional camera. A significant advancement over previous 5D-series AF systems, the new 61-Point High Density Reticular AF included in the EOS 5D Mark III is the most sophisticated SLR AF system Canon has ever released. All 61 points are manually selectable and sensitive to horizontal contrast with maximum apertures larger than or equal to f/5.6. The camera’s twenty one focusing points in the central area are also standard precision cross-type and effective with maximum apertures larger than or equal to f/5.6. The center five points are ultra-high-precision diagonal cross-type points for maximum apertures larger than or equal to f/2.8. The 20 outer focusing points function as high- precision cross-type points with maximum apertures larger than or equal to f/4.0. Other innovations of the new 61-point High Density Reticular AF include expanded AF coverage area, superior focusing precision and low-light sensitivity to EV -2, and greater low-contrast subject detection capability compared to earlier EOS AF systems. (See image below for AF point configuration)

All AF functions now have their own menu tab for quick and easy access (formerly AF custom functions in previous EOS models). A new AF Configuration Tool allows for customized setting of tracking sensitivity, the acceleration and deceleration of tracking subjects, and AF point auto switching, all of which are easily accessed and adjusted via the new AF menu tab. A built-in Feature Guide advises photographers on which settings to use according to subject matter.

The EOS 5D Mark III uses the same high-performance AI Servo III AF tracking algorithm as the flagship EOS-1D X professional DSLR. This new feature works together with the 61-point High Density Reticular AF system to provide superb tracking performance that blends very well with the new camera’s 6 frames-per-second high-speed continuous shooting capabilities.

Similar to the AF point selection options offered in the EOS 7D and EOS-1D X camera models, the EOS 5D Mark III offers six AF point selection modes: Spot, Single Point, Single Point with surrounding four points, Single Point with surrounding eight points, Zone selection and Automatic AF point selection.

iFCL Metering
Complementing the EOS 5D Mark III camera’s 61-point AF system is Canon’s 63-zone iFCL dual layer metering system. The ‘FCL’ stands for ‘Focus, Color and Luminance,’ and references the fact that the metering system not only measures color and luminance data, but also analyzes the data provided by each point of the AF system. Canon’s iFCL metering keeps exposure levels stable from shot to shot, even as the light source changes. The camera’s autofocus information is also used to help determine which area of the scene is of greatest importance in determining exposure.

HDR Mode
The EOS 5D Mark III camera features a built-in HDR mode, merging three images at various exposure levels into a single image, in-camera, for stunning photographs of landscapes and architecture with enhanced tonal gradation beyond the range of the naked eye. The exposure levels in the camera’s HDR mode can be set to cover a range of up to ±3 stops, in a choice of five settings: Natural, Art Standard, Art Vivid, Art Bold and Art Embossed providing unique visual effects. Individual source images can be saved as separate files, and the HDR mode has an optional automatic alignment function that can be useful for hand-held shooting. The EOS 5D Mark III’s standard Auto Exposure Bracketing function has been upgraded to allow for up to seven exposures per sequence, and exposure compensation can now be set for up to +/- 5EV.

Multiple Exposure Mode
The EOS 5D Mark III is the second EOS Digital SLR after the EOS-1D X to feature Multiple Exposure capabilities with the ability to combine up to nine individual images into a single composite image, with no need for post-processing in a computer. Four different compositing methods are provided for maximum creative control, including Additive, Average, Bright and Dark. Compositing results can be viewed in real time on the camera’s LCD monitor, and there is a one-step Undo command that allows photographers to delete an image and try again if desired. The EOS 5D Mark III camera’s Multiple Exposure mode even allows photographers to specify a previously captured RAW image as the starting point for a new Multiple Exposure composite image, or shoot continuously when photographing moving subjects.

Comparative Playback
A new feature seen for the first time in the EOS System on the 5D Mark III is Comparative Playback allowing photographers to display two images side by side on the camera’s 3.2-inch LCD screen. The images can be displayed with a histogram to check exposure levels, or magnified to check for focus or facial expressions.

Durability, Reliability and Other Features
The EOS 5D Mark III features a rugged camera body with magnesium alloy body covers and a stainless steel lens mount. The new camera also has dust- and moisture-resistant design with improved gaskets and seals. Although not quite as weatherproof as an EOS-1D-series camera, the EOS 5D Mark III does feature improved weather resistance over the EOS 5D Mark II model. The EOS 5D Mark III’s newly developed shutter unit has a durability rating of 150,000 exposures, and shutter release lag time has been reduced to 59 milliseconds, making the shutter button very responsive. Canon’s locking mode dial is standard on the new model and a new custom function allows photographers to shut off other dials to prevent inadvertent operation.

The EOS 5D Mark III uses the same LP-E6 lithium-ion battery pack as other popular EOS cameras like the 5D Mark II, 7D and 60D. Battery life is estimated at 950 exposures at normal temperatures, an improvement of 100 exposures more than the EOS 5D Mark II. The EOS 5D Mark III body weighs approximately 33.5 oz. with a battery installed, and the dimensions are approximately 6.0 x 4.6 x 3.0 inches.

The EOS 5D Mark III incorporates Silent shooting modes, available for low-speed continuous shooting as well as single exposures. This feature is ideal when photographing in quiet environments. For better file management especially when working with multiple cameras, the new model also supports custom file names. There is also a new image rating feature that lets photographers rank their photos from 1 to 5 stars for quick editing.

The EOS 5D Mark III features a 3.2-inch Clear View II LCD screen with 1,040,000 dot resolution. This is the same screen that’s used in the top-of-the-line EOS-1D X. The camera’s optical viewfinder has been upgraded to approximately 100 percent coverage, and it features an Intelligent Viewfinder display with an optional grid on demand. The EOS 5D Mark III also has a built-in Dual Axis Electronic Level that can be displayed on both the LCD screen and the optical viewfinder.

The EOS 5D Mark III accepts both Compact Flash Type 1 and SD/SDHC/SDXC memory cards in a dual card slot configuration. Three recording methods are supported: Record the same data to both cards, record different file sizes or types to each card, or automatically switch to the second card when the first card is full.

Accessories
The EOS 5D Mark III DSLR also has a number of new optional accessories, including the new Canon Wireless File Transmitter WFT-E7A featuring wireless LAN support for 802.11 a/b/g/n signal protocols for various network environments. The WFT-E7A connects to the camera through its USB port and includes a built-in gigabit Ethernet connection, time syncing for multiple cameras on the same network, FTP mode, EOS Utility mode, WFT Server mode and Media Server mode. With this new WFT model, professionals can synchronize clocks on multiple cameras and use the unit to support linked shooting when utilizing multiple cameras. In addition, Bluetooth-compatible equipment can be easily linked to the device as well.

The EOS 5D Mark III also has an optional Canon GPS Receiver GP-E2, which can be connected to the camera via the accessory shoe or a USB cable. With a GPS logging function built-in, the GP-E2 will log latitude, longitude, elevation, and the Universal Time Code – and allow viewing of camera movement on a PC after shooting. With its built-in compass, the GP-E2 receiver will also record camera direction when shooting, even when shooting vertically. The Canon GPS Receiver GP-E2 is compatible with the EOS-1D X and EOS 7D as well as the EOS 5D Mark III.

Battery Grip BG-E11 is an optional accessory for the EOS 5D Mark III that accepts one or two LP-E6 lithium-ion battery packs or a set of six AA-size batteries. This new grip has a multicontroller and a multifunction (M.Fn) button together a with a full set of grip controls for easy operation when shooting portraits or other vertical format photos. The BG-E11 is made from sturdy magnesium alloy and has the same degree of weather resistance as the EOS 5D Mark III.

Speedlite 600EX-RT
In addition to the EOS 5D Mark III, Canon is also announcing the first professional Speedlite on the market with a built-in wireless radio transmitter, the new Speedlite 600EX-RT. The new Canon Speedlite 600EX-RT is the flagship model in the Speedlite line, ideal for wedding portrait and photojournalism. Compatible with all EOS Digital SLRs, this new model eliminates the need for accessory radio slave units and their inherent limitations. Speedlite 600EX-RT features Master-Slave two-way transmission, letting the photographer control the Speedlite settings directly from the “Master” camera.

Radio-based Wireless E-TTL can be performed with up to 15 Speedlite 600EX-RT “slave units”, used off-camera up to 98.4 feet (30m) away, and triggered by either a “Master” 600EX-RT on-camera, or the optional new Speedlite Transmitter ST-E3-RT. Used with the EOS 5D Mark III or EOS-1D X, up to five groups of flashes can be completely controlled, independently, off-camera. And, it remains fully compatible with Canon’s legacy optical-based Wireless E-TTL technology, for users already committed to existing EOS Speedlites. The Speedlite features enhanced weather-resistant construction – matching that of the EOS-1D X camera body – and a more reliable electrical contact. The flash head zoom range now reaches from 20mm to 200mm.The Speedlite also allows remote shutter release of a single EOS camera, or Linked Shooting (simultaneous firing of up to 15 cameras, when one “Master” camera is fired), and includes gelatin filters and a dedicated filter holder to help photographers match ambient light.

Speedlite Transmitter ST-E3-RT
Canon is also introducing the new Speedlite Transmitter ST-E3-RT. Providing full support of Canon’s new radio-based wireless flash technology, the new ST-E3-RT can control up to five groups of flashes, up to 98.4 feet (30m) from the camera. The remote shutter release capability enables photographers to either fire a single camera remotely (by pressing a button on the ST-E3-RT), or to fire up to 15 EOS cameras with Canon’s Linked Shooting feature. Making it easy to control and adjust, all of the Speedlite Transmitter features are accessible through the Flash control menu of the EOS-1D X and EOS 5D Mark III cameras.

Pricing and Availability
The Canon EOS 5D Mark III Digital SLR camera is expected to be available at the end of March 2012 and will be sold in a body-only configuration at an estimated retail price of $3,499.00. The EOS 5D Mark III will also be available with the EF24-105mm f/4L IS USM zoom lens in a kit for an estimated retail price of $4,299.00. The Wireless File Transmitter WFT-E7A is scheduled to be available by the end of April 2012 at an estimated retail price of $849.99. Availability for GPS Receiver GP-E2 is expected by the end of April 2012, with an estimated retail price of $390.00.Battery Grip BG-E11 is scheduled to be available at the end of April 2012 for an estimated retail price of $490.00. The Speedlite 600EX-RT and Speedlite Transmitter ST-E3-RT are also scheduled for end of March 2012 availability at estimated retail prices of $629.99 and $470.00 respectively.

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in patent holdings in the U.S. in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

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†Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers
and may vary.

Unsurpassed Image Quality

• 22.3 Megapixel Full Frame CMOS sensor
• DiG!C 5+ Image Processor
• ISO 100-25600 (expandable to L:50 H1:51200, H2: 102400
• Full HD Movie (ISO 100-12800 (H:25600)

High Performance Operation

• 61-point high-density reticular AF (up to 41 crosstype points)
• 6.0 fps for high continuous shooting
• Intelligent viewfinder with approx. 100% coverage
• 3.2-type, approx.1.04m dot (3:2 wide) Clear View LCD II
• iFCL metering with 63-zone dual-layer sensor
• Shutter durability of 150,000 cycles

High end features

• Silent & low vibration modes
• Dual card slots (CF & SD)
• High Dynamic Range (HDR) Mode
• Multiple Exposures
• Comparative Playback function
• Improved durability & water and dust resistance

SPECIFICATIONS

• Available Colours – Black
• Megapixels – 22MP
• Sensor Size – 36 x 24mm
• ISO/Sensitivity – 100 – 25600
• Autofocus Points – 61 points
• Lens Mount – Canon
• LCD Size – 3.2″
• Liveview – Yes
• Viewfinder – Optical TTL
• Min Shutter Speed – 30 sec
• Max Shutter Speed – 1/8000 sec
• Continuous Shooting Speed – 6 fps
• Self Timer – 10 sec, 2 sec
• Metering – Centre-weighted, Spot, Evaluative, Partial
• Video Resolution – Full HD 1080
• Memory Type – Compact Flash
• Connectivity – USB 2, HDMI, Mic Input, Wireless (optional)
• Battery – LP-E6
• Battery Type – Lithium-ion
• Charger – Includes Li-Ion Charger
• File Formats – AVI, RAW, H.264, MOV, MPEG-4
• Dimensions – 152 x 116 x 76mm
• Box Contents – Battery Pack LP-E6 .. Battery Charger LC-E6 .. AV Cable AVC-DC400ST .. Interface Cable IFC-200U .. Eyecup Eg .. Wide Strap EWEOS5DMKIII .. CR1616 Lithium Battery+

Here’s a few new images that surfaced too. It also looks like a new EX flash will be launched along with the MarkIII. 600EX Flash?