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FCP Professional Editing Solution $9995

SkyTech Media Final Cut Pro Professional Editing System for $9995
This Turnkey Solution Includes:
Mac Pro Two 2.40GHz 6-Core Intel Xeon processors (12 cores)
Final Cut Pro Studio
Logic Keyboard for Final Cut Pro
Matrox MXO2 LE w/ Thunderbolt
NVidia Quadro 4000 Card
G-Technology GDOCK ev 2TB w/ Thunderbolt
2X HP 24inch Widescreen HD Monitor

Includes California Post Production Tax & Professional Installation Included

For more information on this promotion, please call your sales representative at (310) 922-1631 or


FCP Entry Level Editing System $4995

SkyTech Media Solutions Final Cut Pro Entry Level Editing System for $4999
This Turnkey Solution Includes:
Mac Mini 2.5GHz Dual-Core Intel Core i5
Final Cut Pro Studio
Logic Keyboard for Final Cut Pro
Matrox MXO2 LE w/ Thunderbolt
G-Technology GRAID w/ Thunderbolt
HP 24inch Widescreen HD Monitor
Includes California Post Production Tax & Professional Installation Included

SkyTech Media Solutions provides a complete product line to help our clients work faster and more efficiently. Whether it is Onset or in Post environments, we can offer products and workflows to assist our clients from acquisition to delivery. Contact SkyTech Media Solutions for all of your software & hardware needs. We are committed to providing the best customer service possible and strive to exceed your expectations.

780 Roosevelt St., Irvine, CA 92620               Office (818) 533-8759              Direct (310) 922-1631
  http://www.skytech.tv       jpskytechmedia.wordpress.com   

For more information on this promotion, please call your sales representative at (310) 922-1631 or

FCP Studio Bundle

SkyTech Media Solutions Final Cut Studio Bundle $2100

Bundle Includes:

Final Cut Studio

MXO2 Mini with Thunderbolt Adapter card

SkyTech Media Solutions provides a complete product line to help our clients work faster and more efficiently. Whether it is Onset or in Post environments, we can offer products and workflows to assist our clients from acquisition to delivery. Contact SkyTech Media Solutions for all of your software & hardware needs. We are committed to providing the best customer service possible and strive to exceed your expectations.

780 Roosevelt St., Irvine, CA 92620               Office (818) 533-8759              Direct (310) 922-1631
  http://www.skytech.tv       jpskytechmedia.wordpress.com

For more information on this promotion, please call your sales representative at (310) 922-1631 or

Performing Match Frame Commands in Avid Media Composer and Final Cut Pro

Article from The Beat……


Use Match Frame functions to quickly find the exact frame you need!


The Match Frame command is one of the most widely used tools among editors.  Match Frame lets you park on a clip edited in the Timeline, and then immediately locate its source clip by conveniently loading it into the Source Monitor (Avid Media Composer) or Viewer (Final Cut Pro).  This can be very useful because you can essentially use the sequence as a launching pad to find exactly what you need — down to the frame — without having to tediously sort through the source bins to locate material.


So yes — the basic Match Frame command is widely known, but there are other related Match Frame functions that are far less popular, but just as useful.  Thus, this post explains all of the various ways to quickly locate specific frames — via the sequence or the source clip — without having to dig through bins.


Match Frame




To use Match Frame in Avid Media Composer:


  1. Park the position indicator on the frame in the Timeline you want to match.  (Make sure the appropriate track is selected.)
  2. Click on the Match Frame button.  By default, Match Frame is located within the Tool Palette.
    Note: For efficiency, I recommend that you immediately map it to your keyboard via Button to Button Reassignment in the Command Palette.  (I like to map Match Frame to Shift+M on my keyboard.)


The frame is matched in the Source Monitor, and an IN point is placed at the exact frame.


To use Match Frame in Final Cut Pro:


In Final Cut Pro, Match Frame behaves the same way — it allows you to take a clip from the sequence and match the frame in the Viewer.  The only difference is that it does not insert an IN point at the exact frame.


  • To match frame from the Timeline to the Viewer, select the clip in the Timeline, and press “f.”


Match Frame Track


Match Frame is great, but in Avid Media Composer, it only works when you’ve selected the appropriate track.  Therefore, when you have many tracks in your sequence, it’s often a pain to have to deselect upper tracks in order to select the appropriate lower track to match.  Therefore, there’s a feature called “Match Frame Track,” where track selection is not imperative.


To use Match Frame Track in Avid Media Composer:


  1. Park the position indicator on the frame in the Timeline you want to match.  (Don’t worry about track selection.)
  2. Right-click on the track that corresponds to this desired match and select Match Frame Track.  The Match Frame action is applied.
    There is no equivalent of Match Frame Track in Final Cut Pro, because to perform a Match Frame in Final Cut Pro, you have to physically select the clip to perform a Match Frame, rather than just park on it.)


Reverse Match Frame


You can also find a frame loaded in the Source monitor (Avid Media Composer) or Viewer (Final Cut Pro) and match it in the Timeline — a “reverse match frame.”


To use Reverse Match Frame in Avid Media Composer:


  1. In the Source Monitor, park the position indicator on the frame you want to find in the Timeline.
  2. Ctrl + click the Match Frame button (or map the Reverse Match Frame button from the “Other” tab in the Command Palette to a keyboard button).  If the frame exists in the Timeline, it will move the position indicator to that exact frame.


To use Reverse Match Frame in Final Cut Pro:


  • Park the position indicator in the Viewer, and press “f.”  If the frame exists in the Timeline, it will move the position indicator to that exact frame.
  • To find all instances of a clip in the Timeline, choose “Reveal Affiliated Clips in Front Sequence” from the View menu.  It will highlight all instances of that clip in the sequence.


Find Bin


The Find Bin button lets you find and open the exact bin in which a clip resides, and will highlight the desired clip in the bin. This works for clips, sequences, and for clips within sequences.


To use Find Bin to find the bin for a clip in the Source monitor in Avid Media Composer:


  1. Load the clip into the Source monitor, and make sure the Source Monitor is selected.
  2. Click Find Bin (located in the Tool Palette or mapped to a button on your keyboard).

    The bin containing the appropriate clip comes to the forefront, and the clip is highlighted in the bin.


To use Find Bin to find a specific clip within a sequence in Avid Media Composer:




  1. Park the position indicator on the clip in the Timeline and select the appropriate track.
  2. Hold down the Option key and select the Find Bin button.  (If you map the Find Bin button to your keyboard, be sure to add the Add Option Key in the More tab of the Command Palette.The bin containing the appropriate clip comes to the forefront with the specific clip highlighted.


To find a clip in the Browser in Final Cut Pro:


  • To find a clip in the Browser, select the clip in the Timeline, and press “Shift + f.”  It will highlight the clip in the Browser.

Final Cut Pro X Audio Filter Tips




When dealing with Audio in Final Cut Pro, there are two primary filters that help our audio during video work. In this article I’m going to share some tips about them to increase the overall quality and value of your video production, in order of workflow. Remember, audio filters are only used to fix problems.

Balance Of Sources

Before I talk about filters, I’ll mention three balance qualities I’ve learned from my work as a music composer and mixer. These will help reduce the need for filters.

Frequency Balance: audio sources must occupy different frequency spaces. For example, don’t use two identical boomy, deep, heavy bass sources to start with or they will cancel each other.

Spacial Balance: be sure if your music clip occupies a wide stereo spread, your voices are mono, and your sound effects are spread between the left and right channels thus not competing for location, like actors on a stage.

Quality Balance: all of your audio clips should be of equal quality. One horrible quality audio clip will drag down the quality of all the others in the scene. I’d rather have all medium quality clips than great quality clips contrasting one horrible quality clip. They should sound like they come from the same place at the same time with the same acoustic qualities.

Noise Gate

When I work with vocals, one of the first things I will reach for is a Noise Gate. This insures that no audio signal is heard below the set threshold, or volume level.  Filling in ambient sound afterwards is OK if necessary. Open the Effects Browser, scroll down the left column to the Audio filters, to the Levels collection, in the Logic section find the Noise Gate. The Parameters section in the Inspector of many filters may intimidate you but they’re handly for keyframing. Instead, look for the square icon filled with slider control images, to the far right of the filter’s header (title bar, next to the curved arrow rest button). This button brings up a nicer user interface, and exists for the filters discussed here.

Figure 1

At its most basic, start by setting the Threshold to -40 for normally recorded voice work that peaks around -6 dB, Attack and Release to 20 ms each. I leave the rest at their defaults. Adjust the Threshold by small amounts if the voice gets cut off too much, or the noise is not cut off enough. If the background noise volume is too close to the voice volume, a Noise Gate will only make it sound worse.


An Equalizer, or EQ, lowers overbearing frequencies in an audio clip so that they don’t conflict with the same frequencies in other clips, or simply enhance the clip as a stand alone audio source. In the EQ collection of audio effects, find the Channel EQ in the Logic section.

Figure 2

Turn on the Analyzer (left-hand side) and click the button below it to show “pre EQ”. This will show you the frequencies of your raw audio during playback. Always reduce the level of frequencies you do not want. Cut the frequencies that are strong, to allow the weaker, more desirable frequencies to be heard. For example, if a voice is nasal, but has crisp highs, pull some of the mid and high frequencies down, to allow the natural low end to come through.


In the Effects Browser you’ll find Logic Pro’s wonderful compressor in the Levels collection. It will limit how loud the loudest parts of an audio clip are and smooths out the overall perceived volume levels of a clip, letting the more quiet parts be heard better. Use it when you have loud parts and soft parts of an audio clip that are too extreme to deal by simply setting the Volume control.

Figure 3

Start by setting the Attack to about 10 ms and Release to about 30 ms. If you get too harsh of an edge on sounds, turn on the Auto button in this area. The Compressor Threshold you’ll have to play with, but start with it at about -6 dB, and the Gain at -6 dB. The Threshold is when the compressor kicks in and starts to squeeze the loudness down. The Gain controls the overall output volume level. These should be easy to understand once you start to play with them.


I hope this article gives you a small insight into this very complex subject. Know that audiences process auditory information they (and you) are not consciously aware of. For more detailed information, watch the Logic Pro tutorial videos:


Five Surprising Tips And Tricks For OS X Mavericks Beta [Feature]



OS X Mavericks beta, while not quite an overhaul as iOS 7, still carries quite a few new enhancements and features that you might not necessarily see at first glance. There are plenty of hidden features, which we’ve already detailed here on Cult of Mac, but more continue to be found. Lucky you, we’re here to help put them all together in one place.

Here are five of those hidden features for OS X Mavericks beta, each perhaps surprising in their own, special way.


Update Whenever You Like – Disable App Auto Updating

Disable Auto Updates

Just like in iOS, OS X Mavericks beta has gone to auto-updating of apps. This way, you don’t have to click thorugh to the Mac App Store each time it gets a red badge of update and click the Update or Update all buttons. It’s pretty slick, and will be a time saver as more and more apps run through the Mac App Store.

But what if you want to update things on your own schedule, or check the list of potential updates, picking and choosing the updates you want to activate, and ignore the ones you don’t?

All you need to do is disable auto-updating, and here’s how.

First, launch System Preferences and click on the newest icon there, the App Store preferences icon. Like iOS, you’re able to have your Mac automatically check for updates. Unlike iOS, you have a finer grained control over which updates will happen automatically.

If you don’t want to check for any updates, uncheck the box next to Automatically check for updates. However, if you want updates to be checked for, leave it checked.

Now, you can decide what happens from there. If you want new updates to be downloaded, and then notified when they’re ready for install, check the next box down, Download newly availabe updates in the background.

If you want to disable app updates, uncheck the next box down, Install app updates. If you want to disable system updates, uncheck the box down from there, Install system data files and security numbers.

In other words, if you just want to know that there are updates, but not have them download or install, keep the top box checked, and uncheck all the sub-options.

Keep Notifications Off The Lock Screen

Notification Center OS X Mavericks beta

In the new OS X Mavericks beta, there’s a new Notification system in place that mimics much of the way iOS handles notifications. Your iOS notifications, in fact, can push right to your Mac desktop as well.

Much like iOS, each app that uses Notification Center can be set to a fine-grained level of customization, letting you show them in Notification Center (activated with the icon in the upper right corner of your Mac’s screen), decide whether to let them use a Badge app icon, and whether or not to play a sound for each app’s notifications.

If, however, you value your privacy, you may want to disable the default setting that has your notifications showing up even when the display is off or locked.

Here’s how.

First of all, launch System Preferences on your OS Mavericks beta enabled Mac, and click on the new Notifications preferences icon. Once there, you’re able to schedule Do Not Disturb times, just like iOS, and then manage what shows up in Notification, and how it shows up there.

To make sure that applications aren’t dropping a notification onto your Mac when the screen is locked or the display is off, for anyone to find and read, you’ll need to hope into the Notification Center preferences for each app individually. For each application in the left-hand column, click on the app icon and then uncheck the box that says, “Show notifications when display is off or locked.”

Now, you won’t have a host of Notifications sitting there for you in the morning from when you put your Mac to sleep each night. You’re welcome.

The only thing I wish Apple would do is to make this more of a system-wide, or non-app-specific setting, so you could turn it on or off for all apps at once, instead of having to do this for each specific app. Ah, well; maybe next beta.

Get Your Calendar Items To Show Their Time Zone

Time Zone Support Mavericks Beta

Calendar, previously iCal, has had Time Zone support for a while now. The Mac I’m using that runs OS X Mountain Lion let’s my turn on Time Zone Support in the Advanced tab of the Calendar preferences, so I can be sure to be on time for meetings when I travel away from my current timezone (AKDT).

However, when using Time Zone support in Mountain Lion, calendar events that I scheduled in one time zone wouldn’t ever show me visually that they were. OS X Mavericks takes care of this problem with a small visual cue–now events scheduled in one time zone will show that time zone in their title in Calendar. Here’s how to make that happen.

First up, you’ll need to enable Time Zone support. Launch Calendar, and then hit Command-Comma to access the Calendar preferences. Otherwise, click on the Calendar menu and choose Preferences…

Next, click on the Advanced tab at the top, the one with the gear icon. Click on the checkbox next to Turn on time zone support. Close the preferences with a click on the red X button in the upper left corner, and then you’ll see your current time zone setting in the upper right corner of the Calendar window.

Now, when you create an event at, say 11 am AKST time, and then switch the time zone setting with a click on that drop down menu, your original event will gain a new time (12 pm in the Pacific time zone), but will also get the time and zone of the original event as part of its title (11 AM AKDT). That way, you’re fully informed of when and how this event was scheduled, in case of any snafus. Which, interestingly enough, happen a lot, especially at conferences and expos.

Via: Tips & Tricks In Mavericks

Get Password Suggestions Using iCloud Keychain And Safari

iCloud Keychain Mavericks

AutoFill has been a part of OS X and Apple’s browser, Safari, for a while now. When you fill out forms on the web, Safari will prompt you to use your contact info to fill in the form, or to use the form data you entered as your AutoFill information. This is helpful as you fill out a lot of web forms, of course.

Now, in OS X Mavericks beta, Safari has a new trick up its sleeve, with the ability to suggest secure passwords to you, and then saving them for you when you go back to that site. It’s called iCloud Keychain, and here’s how to set it up.

First, launch your System Preferences app on your Mac, provided you have OS X Mavericks beta set up on it. Next, click on the iCloud preferences icon to bring up the iCloud prefs.

Now, in the list to the right, click on Keychain to check the box next to it. You’ll be prompted to enter your Apple ID passwrod here. If you already have stored passwords in your iCloud Keychain, you’ll then have the option to restore them with a security code, or start anew. I reset mine.

Now, head to Safari, and pull up a website that needs a password upon sign up. I went to Fab.com, because I haven’t gotten an account there, yet. Sign in with your information, and then when you click in the password field, Safari will pop up a message asking if you want to use a Safari-suggested password. Click on the supplied password if you want to use it, and Safari will AutoFill it into the password field on the website.

Now, you can skip having to create secure passwords on your own, and let Safari — and the iCloud Keychain — keep track of it for you.

Add Credit Card Info To Safari AutoFill

Mavericks Safari Credit Card AutoFill

AutoFill is a boon to those of us who have a ton of forms to fill in, and these days, who doesn’t?

One of the cool new features of Safari in OS X Mavericks beta is the ability to store credit card info, so you never have to pull that card out of your wallet at work while you buy giraffe statuettes from eBay again. Ahem.

Here’s how to get the credit card info into the AutoFill feature of Safari.

Launch Safari on your Mac running Mavericks beta, and hit Command-Comma to bring up the Safari Preferences window. Alternately, you can click on the Safari menu and choose Preferences…

Click on the third icon from the left at the top, AutoFill. You’ll see all the types of information that Safari can store, including Contact info, user names and passwords, credit cards, and other forms. Make sure the checkbox next to Credit Cards is checked, and then click on the Edit… button to the right.

Now click on the Add button in the lower left-hand corner, and then type in a description of the card, like “Home Visa,” “Daddy’s Mid-Life Crisis Fund,” or “Don’t Use This Card Ever.” Hit the Tab key to move the entry field to the Card Number area and type in your credit card number. Hit Tab again to go to the expiration date, and then once more to fill in the Cardholder’s name.

I notice there’s no field for security code, but you can remember a three-digit number, right?

Now you can shop your way through the Internet, blithely charging things to your credit card without ever having to slow down and think about your credit card number. Thanks, Apple!

Selective Rendering in Final Cut Pro X

here may be instances when you want to have more control over your renders.  Disable background rendering in FCPX and gain the ability to manually choose what clips you’d like to render.

Although background rendering an be useful for maximizing your time in the edit suite, you may want to have more fine tuned control over what FCPX renders and when.  Fortunately, background rendering can be enabled and disabled through the FCPX preferences pane. After disabling, you can select specific clips in your timeline to render.  Having control over this function is especially useful when working with long sequences or clips that have been heavily filtered.

  1. Open the Final Cut Pro X preferences menu.
  2. Under the Playback tab, deselect “background rendering” and then close the Preferences menu.
  3. Highlight clips in your FCPX timeline and use the shortcut CONTROL + R to render those selected clips!

Want to manually render all media in your project?
Use the shortcut SHIFT+CONTROL+R.

Once footage in your FCPX timeline is rendered the orange bar above it will disappear:

You can also see what percent has rendered in the small percent icon below the player window.
Double clicking on the percent will open the Background Processes menu.  This menu gives you access to all background tasks in FCPX — including the ability to pause rendering in the application (regardless if background rendering is enabled or not).
For more information and instructions check out our previous post, “Control Rendering and Background Tasks in Final Cut Pro X.”

Do you utilize background rendering in FCPX?
What are your favorite features of the application?
Let us know in the comments.

Quickly Create Instant Replays in Final Cut Pro X

Creating instant replays in Final Cut Pro is now easier than ever with the new automated speed tool.

Although it has always been possible to create instant replay in Final Cut Pro, it required a combination of manually duplicating clips, applying speed filters and then modifying clip speed.  Apple has simplified this process in Final Cut Pro X, with a built in instant replay tool.  This new function is great for sports, news-style or action-heavy programming!

How To Use the FCPX Instant Replay Function

Select a clip or a section of a clip from your FCPX timeline that you’d like to replay.  In this example I’ve selected a section from the middle of one clip.  To select a clip range use the shortcut “R” and highlight a section of a clip (range selection).  For information about using the range selection tool see our post here.

Now, click the clip retiming button in the FCPX tool bar.

Choose “Instant Replay”

When you create an instant replay FCPX will duplicate your selection and automatically add it in the timeline immediately after the original.  All other media behind your “instant replay” will move further down the timeline to make room for it (made possible by FCP’s magnetic timeline).

A retiming bar will now appear above your clip. In this example you will see 3 green bar sections…the first over the original selection, the second over the newly created “instant replay” and the third over the remainder of the original clip.

To adjust the speed of the “instant replay” (the section under the second green bar) drag the bar above it to the right.  The further you drag the bar the more you will slow down the footage.

Expert tip:  In FCPX, the instant replay function is not a default keyboard shortcut (command).  However, this function can be mapped  to a key or shortcut (from the menu bar choose Final Cut Pro > Commands > Customize…)

For some projects, such as sports oriented programming, this new instant replay function could result in significant time savings… a nice addition to FCPX!

The new Mac Pro: purpose-built for performance

The new Mac Pro: purpose-built for performance

By Peter Cohen, Friday, Jun 14, 2013 a 7:25 pm

The Mac Pro: purpose-built for performance

The most frequently repeated joke at WWDC about the new Mac Pro is that it looks like a trashcan or a cigarette tray. There’s nothing trashy about it: it looks more like a jet turbine – an example of form following function so evident throughout Jony Ive’s design catalog.

Built for speed

Just about every aspect of the Mac Pro’s performance is cued to reducing bottlenecks whenever possible. Internal storage via hard disk is gone and replaced with flash memory. Flash memory connected through PCI Express (PCIe). This isn’t an SSD bottlenecked by SATA – you have the much heartier bandwidth of PCIe to work with – it’s 2.5 times the speed of the fastest SSDs on the market.

Thunderbolt 2 is another practical example. Each of the six Thunderbolt ports on the Mac Pro has full bandwidth – 20 gigabits per second. That’s why you can have three 4K displays running simultaneously with three more dedicated to RAID storage, storage area networks or whatever else you might need, daisy chainable on other ports.

Then there are the two workstation-class graphics processors built in to the system, to help drive pixels to the displays – up to three of them operating at 4K resolution. Unimpressed, gamers? I expect you are, because these aren’t for you. AMD’s FirePro processors are optimized for massively parallel operations – a boon to 3D designers, render farms and other businesses.

The four memory sockets are occupied by 1866MHz DDR3, Error Correcting Code (ECC) memory. With up to 60 gigabytes per second memory bandwidth. That’s twice as fast as the current-gen Mac Pro. Apple’s keeping mum about specific processor configurations for now, but has said that 12 core systems will be an option.

Four USB 3.0 ports encourage universal connectivity with commodity peripherals that aren’t Thunderbolt-specific.

And all of this horsepower is designed in a compact device that’s not even a foot tall. Built around a common thermal core, the Mac Pro’s heat radiates inward and rises like a chimney. Mac veterans wince a little recalling the convection cooling of the Power Mac G4 Cube, but even the fan has been engineered for performance: the blades are curved backwards, to run slower with more efficient heat removal. That also means quieter fan operations.

From the top to the bottom, the Mac Pro is thoroughly optimized for maximum performance. Going into it, many feared that the Mac Pro was headed for oblivion. But based on what we’re seeing, Apple is simply reinventing the category.

Is the Mac Pro the new iPad?

No, the Mac Pro is not going to sell as many units as the iPad. But the tablet market existed before the iPad, and it took the iPad to disrupt tablets enough into a real business. In that respect, the Mac Pro has the same potential impact where servers and high-powered workstations are the dominant market.

New Mac Pro’s radical design draws admiration, criticism via Photoshop

New Mac Pro’s radical design draws admiration, criticism via Photoshop

By Kevin Bostic

Apple’s ultra-minimalist design for the new Mac Pro may have drawn “oohs” and “aahs” from admirers, but that hasn’t stopped the Internet from sending up the powerful new desktop in a number of amusing manipulated images.


Revealed on Monday as part of the Worldwide Developer Conference keynote, the Mac Pro wowed attendees and viewers watching online with its spare, cylindrical look. The bold design drew immediate praise from many tech commentators, who had been awaiting a refresh of Apple’s most powerful desktop for some time.

The Independent called the new workstation “a bombshell of beautiful design and raw power,” noting that the genius of the new look isn’t just skin deep: that cylindrical shape works to improve airflow across components, cooling the device without the need for multiple heat-sinks.

In something of a backhanded compliment, CNN called the new Mac “the beautiful new Apple computer most people won’t buy”. The same article, though, said the Pro was “a design marvel… that bears little resemblance to computers as we’ve traditionally imagined them.

Even Gizmodo — always cautious in its Apple praise since a dust-up with the iPhone maker three years ago — hailed the “brilliant insanity” behind its design, saying it was the type of design only a company like Apple could produce.

Notably, most reports made reference to Apple marketing chief Phillip Schiller’s now famous on-stage utterance in defense of the power of Apple’s design. “Can’t innovate anymore, my ass,” Schiller quipped after revealing the new form factor.

And while the tech press and design aficionados seem to have fallen in love, the always irreverent Internet has already provided the requisite snark and mockery to perhaps bring the discussion back down to earth. Shortly after its unveiling, a wave of Tumblrs and forum threads riffed on the new Pro’s design, turning it into a number of other things.

For the benefit of our readers, of course, AppleInsider has assembled a collection of the best of these Pro parodies.

We're partial to the Mario.
But the Magritte is also magnifique.

via Mac Pro Is Tumblr

Inspired by the Magritte, we also thought we’d make a humble contribution to the collection.

Photoshop skills have declined

Risible or remarkable, the new Pro’s design is innovative, but perhaps not entirely unprecedented. Amazon Japan sells a trashcan that bears more than a passing resemblance to Apple’s powerful new desktop.


In a savvy bit of marketing, the company tweeted a warning that the trash can — which sells for roughly $36.50 — was not Apple’s newly announced computer. That tweet was retweeted more than 13,500 times, with 3,026 favorites, some of which may very well have led to a few sales.

Finally, keen eyes at The Mac Observer have noted the new Mac Pro’s similarity to the cylindrical entrance of Apple’s Shanghai retail store. The diminutive desktop also looks somewhat like a scaled-down Cray I supercomputer. The Observer post notes that Cray I buyers would have paid $8.8 million back in 1976 for its 160 megaflops (floating operations per second) of power, whereas the Mac Pro will cost in the thousands of dollars, delivering 7.5 teraflops of computational power, about 47,000 times faster.