Monogram has announced that you can now control Final Cut Pro through their range of modular control surfaces.
A few years ago, we featured the Kickstarter funded modular Palette range of controllers that interfaced with FCPX. These have been superseded by the Monogram Creative Console, a range of modular controllers that includes the Orbiter which has a pressure sensitive disc in the middle of a control ring. (Start your engines colourists!)
This modular range of controllers can now interface to FCP using Command Post. There's also an app that gives you a one-to-one layout of your modules that dynamically updates if you add or remove modules.
You can assign the controls as you wish. If you want to do a lot of reframing, the knobs can be assigned to tweak the media size and position without having to dive into the Inspector.
The modules start at $399 for a set, individual panels range from $99 to $149 and are all available on the Monogram store.
About the integration:
- Monogram worked directly with CommandPost to add incredible functionality between Monograms modular control surface and Final Cut Pro (FCP)
- The FCP integration with Monogram via CommandPost makes color grading significantly more precise and productive than with a mouse and keyboard
- The integration lets you stay focused on your work in FCP without the distraction of on-screen controls
- FCP joins Monogram's other key integrations for creative workflows like Adobe Premiere Pro, Adobe Lightroom Classic, Capture One, Adobe Audition, and Unreal Engine.
About Monogram:
- Monogram Consoles make working with creative software more engaging and productive. They’re perfectly suited for photo/video editing, color grading, music production, virtual production and more.
- Monogram’s control surface is unique because it has modules you can connect together in any way, shape or form to fit your workflow and your workspace. You can add more or less depending what you need them for.
- The Orbiter module is one of a kind. The pressure sensitive disc in the middle paired with the outside infinite encoder ring makes for incredibly precise adjustments in tasks like color grading or tonal adjustments a breeze
- It can easily shave hours off of editing time, plus with the physical controls it helps you stay focused on your work instead of looking at software UI like adjustment panels.
We’ve worked with the Adobe team, Capture One team and Final Cut Pro team to create fantastic integrations with the most popular creative applications used by professionals
I am the Editor-in-Chief of FCP.co and have run the website since its inception ten years ago.
I have also worked as a broadcast and corporate editor for over 30 years, starting on one inch tape, working through many formats, right up to today's NLEs.
Under the name Idustrial Revolution, I have written and sold plugins for Final Cut Pro for 13 years.
I was made a Freeman of Lichfield through The Worshipful Company of Smiths (established 1601). Though I haven't yet tried to herd a flock of sheep through the city centre!
Current Editing
2020 has been busy, the beginning of the year was finishing off a new property series (cut on FCP) for Channel 4 called The Great House Giveaway. I also designed and built the majority of the graphics as Motion templates. It has been a great success and the shows grabbed more viewers in the 4pm weekday slot than any previous strand. It has been recommissioned by C4 for 60 episodes, including prime-time versions and five themed programmes. The shows have also been nominated for a 2021 BAFTA.
Although both were postponed to later in the year, I worked again on ITV's coverage of the Tour de France and La Vuelta. 2020 was my 25th year of editing the TdF and my 20th year as lead editor. The Tour was the first broadcast show to adopt FCPX working for multiple editors on shared storage.
BBC's Snooker has played a big part in my life, I've been editing tournament coverage since 1997. I'm proud to be part of a very creative team that has pioneered many new ideas and workflows that are now industry standard in sports' production. This is currently an Adobe Premiere edit.
Covid cancelled some of the regular corporate events that I edit such as trade shows & events. I was lucky however to edit, from home, on projects for Amazon Kindle, Amazon Black Friday, Mastercard and very proud to have helped local charitable trust Kendall & Wall secure lottery funding.
As for software, my weapon of choice is Final Cut Pro and Motion, but I also have a good knowledge and broadcast credits with Adobe Premiere Pro, MOGRT design and Photoshop.
Plugin Design & Development
I'm the creative force behind Idustrial Revolution, one of the oldest Final Cut Pro plugin developers. It hosts a range of commercial and free plugins on the site. One free plugin was downloaded over a thousand times within 24 hours of release.
I also take on custom work, whether it is adapting an existing plugin for a special use or designing new plugins for clients from scratch. Having a good knowledge of editing allows me to build-in flexibility and more importantly, usability.
FCP.co
Now in its 10th year and 4th redesign, running FCP.co has given me knowledge on how to run a large CMS- you are currently reading my bio from the database! Although it sounds corny, I am pretty well up on social media trends & techniques, especially in the video sector. The recent Covid restrictions has enabled live FCP.co shows online. This involves managing a Zoom Webinar through Restream.io to YouTube and Facebook.
The Future
I'm always open to new ideas and opportunities, so please get in touch at editor (at) fcp.co. I've judged film competitions, presented workflow techniques to international audiences and come up with ideas for TV shows and software programs!
