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I thought I’d just quote Matrox‘s entire press release detailing how Final Cut Pro X users will be able to capture multiple tape formats with their hardware and software solutions, plus export back to tape. They also offer a way to monitor in FCP X. This is great news so far, and Matrox is continuing to work on solutions!

Using Matrox MXO2 devices with FCP X and Compressor 4

In the first release of Final Cut Pro X, the interaction with I/O devices such as the Matrox MXO2 products is different than with previous versions of Final Cut Pro when it comes to capturing, monitoring, and outputting video. Exporting to H.264 files from the new Compressor 4 using Matrox MAX-enabled MXO2 devices remains up to 5 times faster than software alone.

Capture
With FCP 7 you can capture from tape or live sources from within the app. With FCP X you use the Matrox Vetura Capture stand-alone application to quickly and easily capture to many of the QuickTime codecs that are installed on your system such as Apple ProRes 422 HQ, XDCAM HD, and many others.

Monitoring
With FCP 7, the Matrox MXO2 devices provide full quality audio and video monitoring via digital and analog outputs so you don’t need to rely on just a preview-quality output when making edit decisions. The Matrox MXO2 products also include the unique Matrox HDMI Calibration Utility that lets an HDMI monitor perform like a broadcast HD/SD monitor.

FCP X does not support professional video monitoring. For full-screen, preview-quality output you can use the second DisplayPort output from your computer in Full Screen Mode. The audio outputs of the MXO2 devices can be used for audio monitoring.

Print-to-tape
With FCP 7 you can print-to-tape from the timeline within the app. With FCP X you must first export your timeline to a 1080, 720, PAL, NTSC .mov file then use the Matrox Vetura Playback app to record to tape through your MXO2 device.

Lightning fast H.264 encoding
Matrox MXO2 devices with MAX give you the same accelerated H.264 encoding with Apple Compressor 4 as they did with Compressor 3.5. You can still deliver H.264 video up to 5 times faster without sacrificing quality! Matrox MAX taps into Compressor to let you quickly and easily create H.264 files for the web, mobile devices, Apple TV, and Blu-ray discs from a variety of video sources including SD, HD, and RED proxy files up to 2K.

More to come
Matrox is committed to adding new features to the Matrox MXO2 products to further enhance FCP X workflows for professional users. As the FCP X software platform evolves, so too will the workflows we can offer.

Apple has released a Final Cut Pro X FAQ, which gives many details and promises some key features, while also explaining why you can’t import FCP 7 (or earlier) projects into FCP X. Highlights:

1. You can’t import FCP 7 projects into FCP X because of the complete re-design. Maybe an XML import will fix that?

2. Multicamera, XML, AAF, OMF and EDL support coming. Multicam will be an Apple update (and I suspect XML, too), but they’re saying third-parties are getting the APIs. For now, and for $500, you can use Automatic Duck.

3. Third-party plug-ins will work, once they’re updated to 64-bit.

4. Apple will update FCP X to support assigned audio tracks for export.

Plus lots more info on media management, Blackmagic and AJA working on drivers to import and export tape (other than DV, DVCPRO SD/HD, HDV — something I’ve done with FCP 5, 6 and 7 and Beta SP via the Matrox MXO 2 mini, same with using a broadcast monitor via the MXO, which Apple discusses), bulk license purchases, exporting audio for Pro Tools (Automatic Duck) and more.

It’s a great read and makes me really want to try Final Cut Pro X even more.

Update: Someone on DVinfo.net/forums pointed to another post from Apple, Key Features for Professional Editors. Apple’s listening, and they are serious about FCP X and pro editors.

Information from Apple on importing Sony XDCAM media in FCP X. This is similar to how we were doing it in 07/08, until Sony created a driver/plug-in so you could use FCP 6′s (then FCP 7′s) Log and Transfer. I have a feeling that will happen again soon.

Also, just a reminder that Apple also posted info on all the features in FCP X, along with top features and tech specs. Plus, here’s a list of graphics card support. The minimum is an OpenCL-capable graphics card or Intel HD Graphics 3000 or later, 256MB of VRAM. That’s the minimum on the 13-inch MacBook Pro, and my feeling is you should go one step better on that graphic card, because the next full version of FCP X may not support that bare minimum. It happens with every major update to any Mac software app that depends on a good graphics card, trust me.

Philip Hodgetts posts a theory on updates coming when OS X Lion appears, and could we be getting true monitoring via AirPlay, the Apple TV and an HDTV?!

Apple released Final Cut Pro X today on the Mac App Store, for only $299. They also released Motion 5 and Compressor 4, though it appears Compressor is very much the same and still 32-bit.

Find out all you need about Final Cut Pro X on Apple’s page, plus Motion and Compressor.

Apple details supported cameras. Plus, here’s my blog post with Apple’s official FAQ, pro features, etc., which includes the addition of multicam editing, XML support, etc.

Apple has added more detail about key features. I think they’re listening. This is probably the start… show more of what it can do, and start adding in missing features, like multicam, XML, etc. Full specs and an in-depth look at the features.

I figured I should put this close to the top… the great Ted Landau has posted a Final Cut Pro X bugs and fixes/troubleshooting guide at Macworld. Ted used to own MacFixit.com, before CNet bought it.

Here’s an Final Cut Pro X FAQ from Jon Chappell of Digital Rebellion.

Philip Hodgetts’ own FAQ, including what’s new, what’s still there and what’s missing from FCP X.

My friend and colleague Kevin P. McAuliffe provides a first look and tutorial video on Final Cut Pro X.

Also, check out this IMPORTANT blog by David Pogue from the NY Times (his review is below), explaining where things moved to, what things Apple will fix and third-party options (there are some). He focuses not on knee-jerk reactions, but what’s what, and where it’s at.

Update: Rich Harrington responds to David Pogue’s article.

I think you should read Bill Davis’ article on DVInfo.net, since I can’t help but echo what he went through from FCP 1.0 until today.

Studio Daily talks to Apple, details FCP X and hopes to help you decide if upgrading is right for you (at least right now).

I haven’t had a chance to get it yet, so here are some reviews/thoughts/first impressions:

Steve Martin (not the actor)

Jon Chappell

Larry Jordan training and his blog

So far, FxFactory‘s most essential plug-ins do indeed work with FCP X.

USA Today takes a look (video and text).

Missing Features in FCP X

My friend and former colleague Paul Harb (co-editor of Rocky Balboa, Rambo and The Expendables) in this article on USA Today’s site.

MacLife: 10 Best New Features in FCP X.

TUAW has a video preview.

David Pogue’s positive review, NY Times; plus, his negative review of iMovie ’08 (which changed everything iMovie users knew and were accustomed to, much like Apple did with FCP X from FCP 1-7). Hat tip: Jon Chappell/Digital Rebellion on Twitter, and then re-tweeting someone else linking to the old iMovie ’08 review.

Final Cut Pro versions 1-7 used QuickTime; FCP X uses AV Foundation. From February 2011, what’s Apple doing with QuickTime? Hat tip: My friends at DVInfo (Craig S.)!

Daring Fireball weighs in, and makes good points, likening it to the transition from OS 9 to Mac OS X.

New FCP X updates, features and missing items added every 6 months??

Walter Biscardi’s review, and he’s saying goodbye (for now) after 10 years of FCP use.

And now the Conan O’Brien Show is making fun of it… Hat tip: Jon C. of Digital Rebellion

Former video editor and current Macworld editor Serentiy Caldwell makes sense with her article on why Apple needed to update FCP X.

Josh Mellicker weighs in, which is important to read since he was one of the first people to beta test, create the first FCP training video (which I used to learn FCP 1.0 in 1999/2000), and basically was at the start of the Final Cut Pro revolution.

Red Giant Software (Magic Bullet, etc.) announces support for Final Cut Pro X, including free updates for current FCP users! This is a big deal, because RGS is one of the biggest third-party app developers for FCP and other major NLEs and graphics/animation programs. I use Red Giant Software’s tools quite a bit.

Once the anti-FCP X, anti-Apple rhetoric (and it was getting pretty silly, huh?) slows down, some users are trying it out and liking it a little.

Movie news website /Film weighs in.

Michael Wohl, one of the original designers of Final Cut Pro weighs in, too.

Larry Jordan backtracks a little bit. Well, that might not be the best word, but that’s what someone said recently.

Jeffery Harrell talks.

Macworld’s review by Gary Adcock.

Art of the Guillotine’s review (part 2 is linked near the bottom of the page).

Boris FX is committed to supporting FCP X. I use Boris FX often.

Evidence of XML in Final Cut Pro X found in the code?

Philip Hodgetts (and Seth Godin), “Show me the Metadata.”

Philip Hodgetts discussed, in late May 2011, why Apple based Final Cut Pro X on Metadata.

Requiem for Color, which I really wish Apple would’ve given it a better UI, seriously. Otherwise, powerful color correction/grading software. Here’s my review of 1.0 from August 2007.

SmartSound is working on plug-in support for FCP X.

A whole ton of links to FCP X sites, info and more.

Macworld reviews Motion 5.

Big tip of the hat to my pal Ray Sigmond for many of these links! I’m glad he’s sending me stuff as the week ends (June 24, 2011), because cooler heads are prevailing, and people are finding true positives and negatives about FCP X. Positives are slowly outweighing negatives.

More soon, especially as soon as I get my hands on a copy.

I’m inviting you all to the 2011 Voices of Local Film at the Palm Beach International Film Festival, Sunday March 27, 2011, starting at 7:15 PM. It’s being held at the Muvico Parisian at CityPlace in West Palm Beach, Florida. For details, film line-up and ticket info, visit the Palm Beach Film Society website. Support local Florida filmmakers!

A little background: I founded the in 2002 as a way to spotlight local filmmakers in Florida, and to support filmmaking in the Sunshine State. In 2003, we launched the first annual Voices of Local Film, which allowed local filmmakers and their movies to be part of a special event during the Palm Beach International Film Festival.

Our Board grew and changed, with Elizabeth Dashiell, Hillary Runge, Jennifer Stone and Mark Pain as the last members before I left in early 2008 to go to St. Pete/Clearwater, Florida to co-produce the feature film “December.” The last Voices I was involved with was in 2007, our fifth event. Elizabeth took over as President and presided over the 2009 and 2010 Voices events. In fact, I returned in 2010 not as a member of the Palm Beach Film Society, but as a co-producer since “December” was part of the fest! It was a little surreal, but fun!

Well, in early 2011, I came back to the Palm Beach Film Society as President, and I’m presiding over my first Voices of Local Film in 4 years! I’d love to see you there! Again, visit the Palm Beach Film Society website for ticket information and the film line-up! We have a lot of great movies this year!

The poster was painted by Alexia Hemingway and designed by Jossette Simo-Kleidgaard. Hat tip to Dawn Dubriel for her help and recommendation of these two talented ladies! You can buy a copy of the poster here; all proceeds will benefit the Palm Beach Film Society, a non-profit organization.

Just a quick update that I finished the first draft, or I guess the first words-on-paper draft of Ambush, my next film, close to 2 weeks ago, near the start of the New Year. I need to do re-writes and I received notes from my two film cohorts Grant and Jeremiah. I purposely haven’t read it yet, wanting to give myself a little space before jumping in. More soon.