Thursday, June 30, 2011
Fiprecon is a connector for Final Cut Server and Archiware PresSTORE. I've been working on extending fiprecon to especially support these new features:
- recursive archiving and restoring of productions and FCP projects
- stores id, label and barcode of the tape on which an asset has been archived in the asset’s FCSvr metadata
- sends a mail to an administrator, if a tape needed for a restore process is not available. Includes a list of missing tapes, supports authorized mail sending
We have been using the AJA Kona boards for years with FCP so it’s really important to me that the board work with whatever new software we go with. Happily I can now run my AJA Kona boards smoothly with CS 5.5 thanks to the new 9.0.1 Plug-In release.
Wednesday, June 29, 2011
OCZ's new RevoDrive 3 X2 whet your appetite for more info on the super speedy SSD? Well, your wish is the web's command, and we've got a full roundup of reviews that'll tell you all you need to know. After putting OCZ's latest through its paces, the consensus is that the SSD is seriously quick in remembering and retrieving data. According to Tom's Hardware, the RevoDrive 3 X2 -- with its max 1.5GBps read and 1.2GBps write speeds -- 'smokes everything' they've had pass through their lab. However, AnandTech noted that such capacious bandwidth is 'simply overkill' for most users, as the drive only really flexes its muscles once the queue depth increases from enterprise-level workloads. Several sites noted that the drive's lack of TRIM support was also a concern, and that more cost effective (albeit slower) storage solutions can be had with a DIY RAID array of SATA SSDs. Of course, you don't have to take our word for it, get down to the nitty gritty in the links below.
I’ve had a couple of people ask for my thoughts on the new FCPX release given my history with Apple and in particular my experience with how they dealt with another product that was focused (in our case almost exclusively) on professionals – the compositing software ‘Shake’. So, even though I don’t think they’re totally analogous events, I figured I’d use it as an opportunity to make a couple of points about (my perception of) how Apple thinks.
Either way, there's a little teeny tiny bit of hope.
Playback SettingsYou ned to adjust how media is played back as well as rendered.
DaVinci Resolve 8 includes multi-layer timeline support with editing, and XML import and export with Apple Final Cut Pro 7™. Also includes OpenCL processing to allow use on Apple iMac and MacBook Pro computers, new advanced processing tools have been added for real time noise reduction, curve grading, advanced multi point stabilization as well as automatic stereoscopic 3D image alignment. DaVinci Resolve 8 also supports the Avid™ Artist Color™ control panel.
Tuesday, June 28, 2011
Monday, June 27, 2011
Sunday, June 26, 2011
I don’t work with the RED all too much, I do use it from time to time. One of the new advantages of Media Composer 5 is the ability to import R3D files through AMA and edit them natively.
by Mike Jones
The color grading software options on the market right now (Magic Bullet, Colorista, Apple Color, After Effects not to mention NLE plugins) are myriad, cheap and powerful but before you start banging away gleefully at color curve graphs there are some key notions to engrain into the consciousness of every DIY indie filmmaker.
The professional media and entertainment industry has undergone a massive transformation over the last 15 years, from an analog world defined largely by video tape and film to one defined by digital formats and metadata (information about the video content and its production history). Modern media production is largely done with what are called File Based Workflows in which rich video content may be captured digitally or converted into digital form and then editing and other post production work is done on this digital content. Digitization has lowered the cost and increased the efficiency of video production, resulting in a surge in the amount of content available as well as the hardware needed to support digital production, distribution and archiving.
Saturday, June 25, 2011
Grading with Magic Bullet Looks.
- יש סימנים לפייטון ואפל סקריפט בגרסא החדשה. אחת שפץ תכנות פתוחה ומוכרת והשניה שפת סקריפטינג מוכרת. זה אומר שפיינל קאט יכולה (תיאורטית בינתיים) לקבל התממשקות מבחוץ, ובפקודות מוכרות וסטנדרטיות. זה פותח דלת לכלים מצד שלישי, אוטומציות וכו'. זה סימן מעולה!
- יש סימנים לייבוא XML של פיינל קאט 7 ובנפרד ייבוא של פיינל X. הגיוני שיצטרכו 2 מתודות יבוא שונות בגלל השוני במבנים של שתי הגרסאות. אבל זה גם אומר שמישהו, אולי אפילו אפל, יכתבו כלי המרה בין שני הXML ואולי בעתיד יהיה אפשר לפתוח פרוייקטים בין שני התוכנות.
- פיינל החדש משתמש במנוע הרינדור של Motion החדש. זה טוב כי פלאגינים יהיו תואמים לגמרי.
- קובץ הפרוייקט של פיינל החדש הוא בפורמט SQLite. זה פורמט שיש לו סטנדרט ותיעוד (לא סגור כמו פורמט הפרוייקט בגרסא הקודמת). זה אומר שתוכנות או כלים מצד שלישי יוכלו (אולי, בעתיד) להתערב בקבצי הפרוייקט ולשנות אותם. זה דבר מעולה. זה אומר להחליף Low-res ב High-res, לשנות מסלולים של חומרי גלם, לדחוף ולחלץ מטה דאטא לטובת אוטומציות ועוד מטעמים.
Friday, June 24, 2011
So I decided to quickly grab a couple of test shots with both S-Log and Cinegamma 1 to see how much of a difference there was. I was only able to record to the internal SxS card, but the results were quite enlightening. This was all done very quickly, so it’s not particularly scientific or accurate, but it does prove beyond any doubt that S-Log brings a significant boost to the dynamic range compared to the cinegammas. I estimate it gives you between 1.5 and 2 more stops to play with. Given that the F3 is already tested and shown to have around 11.5 stops with the cinegammas, this means that the F3 with S-Log is in the 13 to 13.5 stop range, very impressive indeed.
מי שעבר עם RED, Alexa או פילם מכיר גם LOG ו LIN. אלו לא בדיוק קולור ספייס, אלו שמות כללים יותר הקשורים לקולור ספייס אבל בעיקר לתפיסה או ראיית צבע בצורות שונות.
I’ve been a Final Cut Pro user for more than 6 years, well before I started to shoot video (I used it for photo slide shows when I was at The New York Times.) I started to test out the waters with Adobe’s CS5.5 Production Suite a few months ago as it supported HDSLR footage natively (Adobe’s Mercury engine doesn’t need to convert the footage in order to edit it, and that can speed things up significantly during an edit or when you’re on deadline.) I also needed to familiarize myself with software that others could use on both a Mac and PC (which CS 5.5 does – in fact you can transfer your projects back and forth seemlessly between both platforms on the same HD/USB stick in case you were curious.)
Thursday, June 23, 2011
Andrew Kramer shared some details about a new Video Copilot plug-in called Element (formerly Atom), a “3D geometry-based” particle system with array and material features integrated into AE 3D. Element was demoed at MGLA, with a demonstration planned soon for Video Copilot.
Wednesday, June 22, 2011
X-Rite announces New Display and Projector Color Calibration Solutions:
X-Rite announces the immediate availability of i1Display Pro and ColorMunki Display, two all-new technologically advanced hardware and software solutions for color calibration and profiling of displays, laptops and projectors.
So after messing around for a couple more hours this is my conclusion:
- No support for external monitoring. My BlackMagic card is just sitting around.
- No plug-ins support (yet)
- No backward compatibility with older versions of FCP
- No support for EDL, OMF or XML
- They dropped makers (WHY?!)
- No customization of the workspace (or very limited)
- No or limited import and no output from and to tape, which I kind of understand as it will slowly disappear, but I think it’s too soon.
- Still a lot of bugs (expected in a 1.0 release)
- When ‘background’ analyzing media, my 8 core hyperthreading 16GB DDR3 Mac Pro goes really slow.
- A lot of the standard effect presets are really cheesy and straight out of iMovie or Motion 4.
- The magnetic timeline works amazing.
- The new user interface looks fantastic
- Skimming trough clips works naturally
- The new events browser really makes it easier to see what a clip contains, thus makes you edit faster.
- The iMovie way of setting in and out points is really quite nice.
- Instant previews of effects
- The new color grading tool is great and easy to use and can do advanced stuff such as masks.
In the video space, there’s always a lot of talk about these number ratios – 4:4:4, or 4:2:2, or 4:1:1, but what exactly do they mean? Recently, someone argued with me that it was better to convert every video clip from my Canon Rebel T2i DSLR camera into a 4:4:4 intermediate codec before editing; that this would make the color magically “better” and that editing natively was somehow bad. They were wrong, and I’m going to explain why.
Yesterdays release of FCPx caused a lot of disappointment in the industry. The fact that Color is gone might be biggest one for us colorists. Apple has included some basic grading tools that are better then 3-Way Color Corrector, but to call it a grading tool is just not correct.
Red One or Arri Alexa lately? Okay, perhaps not. But if you were, then the DuraVision FDH3601 from Eizo Nanao could handle it easily with 4096 x 2160 pixels spread over 36.4-inches of LED-backlit real estate.
Tuesday, June 21, 2011
The last week has been a whirlwind of testing Red's new 5K Epic digital cinema camera, special thanks to Blair Paulsen for lending us his camera, one of the first Epics available. Beyond its high resolution beautiful sensor, the new kid in town is called "HDRx," and is a creative take on something that digital cameras have lacked for awhile: High Dynamic Range.
When Apple teased us with a Sneak Peek we knew that there had to be more to Final Cut Pro X than they showed. There certainly is and these features are great. Here’s the run down of the key new features that were not seen during the Sneak Peek, but deserve to be known.
Since Apple’s Sneak Peek of Final Cut Pro X, the questions have been flying around the Internet. Well, here’s concise answers to those questions – as many as I could find, so settle in and learn what’s new and what’s not there yet.
What other New Features does Final Cut Pro X have? | The present and future of post production business and technology
The new Motion 5 has arrived - and here’s the funny thing: while it looks radically different, contains features that represent a completely new paradigm, and will change the way motion graphics are created - it is at the same time no different at all. How can that be? Read on for summary of what I consider the 5 biggest changes in Motion 5, and why they change everything - and nothing at all.
Monday, June 20, 2011
סמוק נהפכה למכונת קונפורמינג משומנת ויעילה. עכשיו כשיש גרסאת מק זולה יחסית, 20,000 דולר, היא הופכת להיות יותר רלוונטית ומתאימה במיוחד לסטודיואים מבוססי מוצרי אוטודסק כגון פליים ולאסטר.
סמוק תמיד הייתה בעייתית בפונקיה שלה. היא לא באמת מערכת עריכה, לא ממש מכונת אפקטים, לא בדיוק קולור קורקשן... איפה שהוא בין לבין לבין. עכשיו היא כשהיא מבשילה לאט לאט והמחיר ירד, היא נהפכת לאולר השוויצרי של בית הפוסט, אם בית הפוסט מבוסס על מוצרי אוטודסק.
למרות שלא הייתי משתמש בדיוק באותו ציוד או עיצוב, המאמר הזה מאד מפורט ואפשר ללמוד הרבה מהנמוקים שלו לגבי בחירת המרכיבים. אמנם התרשים הזה מתאר סטדויו שנותן שירותים למגוון רחב של הפקות, אך תמיד חשוב לשאול בבניית חדר עריכה (או כל פונקציה אחרת) את האשלות הבאות:
Light Illusion provided New Zealand based Imagezone with a full range of color management tools, from display calibration and 3D LUT management via LightSpace CMS, to image look control for dailies and editorial through the use of Alexicc and SpaceMan ICC, as well as look cloning and conversion with MatchLight IMS .
Sunday, June 19, 2011
In the most scientific camera comparison to date, “The Great Camera Shootout 2011: a documentary of the Single Chip Camera Evaluation (SCCE)” premieres with Episode 1: “The Tipping Point.” The first episode of the 3-part web series examines three SCCE Tests: The Dynamic Range Test, The Under Exposure Test and The Over Exposure Test. More...
Sony has released plugins to use the Sony SRCodec natively in FCP v7 and AVID MediaComposer 5.5. DaVinci Resolve and Filmlight won't need any plugin since they have implemented the codec natively into their architecture. There is also a standalone viewer for Windows.
A couple of weeks ago we tested a pre-production model of the Sony FS100 camera for both ISO ratings and dynamic range. We came up with some impressive results, but decided to do some more tests with the full production version of the camera. The ISO ratings stayed the same but I found that the production version of the camera actually had improved dynamic range overall. In my video above, I show the results of my tests at the four different gamma modes of the camera.
Thursday, June 16, 2011
Last week we released Pro Media Tools 1.0.2, a significant update to our suite of tools for processing and managing media in Final Cut Studio, Avid Media Composer and Adobe Premiere Pro.
The focus of this version was Auto Transfer and lots of new features have been added.
Wednesday, June 15, 2011
Here’s a 7 minute tutorial to get you started incorporating 3D graphics and 3D footage using the stereo 3D pipeline in After Effects CS5.5. To learn more, look for the CS5.5 electronic update available to readers/owners of my book, After Effects Studio Techniques CS5, which will be available sometime this month (details to follow).
To those that are new to video compression and encoding, there may be a setting you might not know about, or are unfamiliar with if you have seen it. It’s the “keyframe” setting in many video encoding applications.
A video compression keyframe has nothing to do with an animation keyframe, so let’s get that out of the way first. When encoding video for the web, or anything that needs small files while maintaining decent visual quality, keyframes can be your secret weapon. Think of video compression keyframes as your reference frames to which all successive frames will be based on. This way, those successive frames don’t need to “recreate” the entire frame of visual data, only what has changed from the keyframe.
Chromagic is an FX-Plug for Final Cut Pro 7 for color correcting your clips. The plug-in works with the Chromagic Ipad App which you need to install on your device in order to turn it into an "eyes-free" color correction console.
This is getting serious. As I recall this is the second app of this sort, and there are probably more to come. This is true democratization the color grading process.
Firmware updates are available from Panasonic’s website. As of this posting, the current firmware version is V1.15.
יש דרכים לשלב מהירות של SAN וגמישות של NAS. פתרונות אלו מורכבים להתקנה, עולים לא מעט ודורשים תמיכה מקצועית. הם בנויים של שילוב קפדני של רכיבי חומרה ותוכנה והגדרות דקדקניות ספציפיות לכל קונפיגורציה.
חשוב להבין טוב את הצרכים לפני שבוחרים מערכת אחסון. ישנם הרבה משתנים שיקבעו לבסוף מה המערכת האופטמילת לכל סוג של עבודה, איפה אפשר לחסוך ואיפה חייבים ללכת "לפי הספר".
Tuesday, June 14, 2011
Monday, June 13, 2011
מה הכוונה טרנספורמציה של צבע?
- LUT לצפייה, כשמה היא, מיועדת לצפייה בחומרים בקולור ספייס (או גמא או צפיפות) שונה מזה של המכשיר שעליו הם נצפים.
- LUT לקליברציה משמשת כדי לדמות את הקולור ספייס של מדיום היעד (פילם, מקרן דיגיטאלי) על גבי מכשיר מכוייל בעל קולור ספייס שונה (פלזמה, CRT...).
- LUT להמרה משמשת כדי להמיר מקולור ספייס או קידוד גמא אחת לשני, באופן דומה ל LUT צפייה. הLUT נצרבת (מרונדרת) על גבי קובץ כדי להקנות לו את הצבעוניות הנכונה.
השימוש ב LUT בדרך כלל מתלווה לטכניקות ניהול צבע אחרות ולרוב מתחבר לתעשיית הקולנוע. בשנים האחרונות, או מאז פריצתה של מצלמת RED השימוש בLUT נהיה פופולארי יותר ונכנס לאט לאט גם לתחום הטלוויזיה.
Friday, June 10, 2011
If you’ve been following my HD Formats series (Video Formats, Bit Depth & Bit Rate), this blog should help clarify a couple more of those words and numbers we see associated with HD video formats. First, I’ll talk about different color models in the HD world, which are often shown as ‘Y Cb Cr’, ‘Y Pb Pr’ or ‘RGB’. Then I’ll cover color sub-sampling, which is most often described by a combination of numbers such as 4:2:2 or 4:2:0. These two terms are closely associated with one another, but have very different implications.
Thursday, June 9, 2011
Its ironic really; 2010 had been "the year of DSLRs" at NAB, but this year everyone agreed that their moment had passed. Attention moved to the large sensor video cameras; from the expensive RED's and Alexa's, to the more price conscious Sony PMW-F3, Sony NEX-FS100, and Panasonic AG-AF100.
SpectSoft, a leading provider of uncompressed video solutions on the Linux platform, announced that the RaveHD product is now available at no charge. Developing products since 1997, SpectSoft has released RaveHD as part of their 'Giving back to the community' program. This is the second, high-end solution Spectsoft has release to this program, releasing last year a version of their 3d live product.
Pinwire.com » Download Canon Software!
- Aaton 35-3
- Arri Alexa
- Red MX
- EOS 1DmkIV
- Sony PMW F3 (was an engineering sample)
- Aaton XTR PROD (Super 16)
Here is what John wrote on the test shoot:
Today I got my hands on an iPad and I remembered that Tangent has a product called vWave-Lite. It's an iPad app that has 3 virtual trackballs and rings to control Apple Color. The app is free and it connects via WIFI to the mac that has to run the Tangent Color Support Package which can be downloaded for free from Tangent.
Here is a quick video of some of my initial camera test with the RED Epic – serial number 308. We spent a little over a week driving around California thanks to Eric Kessler who sponsored our little project and shot a lot of behind the scenes footage that we will be sharing with you over the next few weeks on this blog.
We initially ran into 4 days of very bad weather (rain and high winds) and it took me a little while to configure the camera in terms of handles, rods etc as well as to get to get to know it and the workflow that followed. The good news is that we’ll be sharing many of those lessons with you (most of them will apply directly to HDDSLRs by the way!) We’ll be covering a variety of the gear we used as well as time lapse techniques (that were shot with the Canon 5D MKII and 1D MKIV.) After the video I’ll discuss two of the most impressive features of the RED Epic – the incredible 5K resolution, as well as their HDRx technology.
Tuesday, June 7, 2011
digital camera to handle a variety of speeds suitable for commercials, documentary,
sport and television.
|According to P+S Technik, as digital film technology develops, new frame rate speeds are opening new options for storytelling. At 300fps to 450fps human action can add a different look to sports, documentary, wildlife and feature films. The PS-Cam X35 can film frame rates from between 1 and 450 fps. The PS-Cam X35 is also expected to combine aspects of sync-sound cameras and higher speed rates into one all-purpose digital camera.
Dynamic Picture Quality Enhancement processing gives 11 T-stops at normal and high speed.
The internal memory is 18 GB and allows recording of more than 4min in normal speed. A memory upgrade to 36 GB is planned. The switchable HD-SDI interface in 1.5 G and 3 G outputs to most HD-SDI recorders. Genlock and time code are included. It has a PS-IMS lens mount and CMOS 35 Digital sensor measuring 21.1 x 11.9 mm at full HD with 1920 x 1080 resolution. It records HD in 4:2:2 10 Bit uncompressed, and is stereo compatible. A RAW option is planned with 12 bit uncompressed recording. Its weight is approximately 9.5kg.
Available accessories are a range of IMS lens mounts, standard batteries, a hand unit for remote control and the various HD-SDI recorders. A new electronic viewfinder is also planned. The PS-Cam X35 is expected to be released in the latter half of 2011. www.pstechnik.de
For this Tutorial I will be using Colorista Free from Red Giant Software together with Apple Final Cut Pro to create the CDL values and DaVinci Resolve from Black Magic Design to use as the final grade system.
This tutorial is for understanding the CDL format. Do NOT use this workflow in a production since Colorista Free can't save the CDL values to a file. It would take more time to write down all the settings then to regrade the footage if you have many shots.
From the moment they came out, HD-capable DSLRs have intrigued shooters with their ability to deliver Hollywood-style selective focus on a micro-budget. But even as HDSLRs have gained adherents, shooters have pointed to a list of pictorial, practical and ergonomic shortcomings. To be fair, these issues are the result of taking an excellent platform carefully optimized for still photography and adapting it for moving pictures. Sony understands. We know DSLRs, we love DSLRs, and we make a growing family of Alpha HDSLRs along with a large-sensor Handycam camcorder with still camera roots: the NEX-VG10, which uses an APS-C size image sensor. But we also wanted to create a purpose-designed professional camcorder that would combine the key benefits of HDSLRs without the limitations. The result is the NEX-FS100U.
Have you ever wanted to move a primary grade from one system to another one. For example you are on set and do a basic grade on the footage using 'Iridas Speedgrade On Set' just to get a look for the Dailies, but when you get to the final grade you are using another grading system which can't read the Iridas project file. There is a solution for this, it's the Color Decision List.
There it is, in the public announcement at WWDC: 'Xsan built in.' Sure, it was small type on a list of many features, but it was there.
I'll post more info if available (outside of NDA of course).
What do you think of that 97% price drop?
Update: From the updated What's new in Lion page:
Built into LionMore...
The Xsan file system is built into OS X Lion, allowing any Mac with appropriate connectivity to access an Xsan volume.
Case insensitivity option
For improved performance and simplicity, you can now create case-insensitive Xsan volumes. These volumes act like traditional HFS+ volumes and do not distinguish between uppercase and lowercase characters in filenames.
New preference pane
A new Xsan pane in System Preferences makes it easier to manage, mount, and unmount Xsan volumes.
Lion supports the Asymmetric Logical Unit Access (ALUA) standard for multipathing and failover. This allows Xsan to be used with a variety of Fibre Channel RAID storage arrays.
Ok, I got a bunch of emails today asking to explain exactly how an Ethernet SAN works. I’ve done a full article on this in the past, but here’s a quick primer on how it works.
1 – The SAN controller computer. In our case, a Mac Pro 12 Core machine with 32GB RAM.
2 – An Ethernet controller inside the SAN controller computer. In our case it’s a Small Tree Communications Card.
3 – A RAID Host controller inside the SAN controller computer. In our case it’s the Atto R680 SAS Host controller.
4 – A high speed ethernet switch. In our case, a Small Tree 24 port ethernet switch.
5 – A high speed media array. In our case, a brand spankin’ new Small Tree 48TB ST RAID II. 16 drive chassis with 3TB drives.
6 – Client computers connected to the ethernet switch via Cat 5 / 6 cable. Mac Pro, iMac, Mac Mini, Laptops, anything with an ethernet port.
So in a nutshell, the high speed RAID connects directly to the SAN Controller computer.
The SAN Controller computer connects to the Ethernet Switch.
The Client computers connect to the Ethernet Switch.
Set up the Network settings correctly on the SAN Controller Computer and all Client computers.
Set up the File Sharing correctly on the SAN Controller Computer and all the Client computers.
That’s it in a nutshell. Mount the SAN to each client and start working.
There is zero control software needed to run the SAN. Just set it up, tweak it and start editing. Of course I’m not going to get 500MB/s to each client workstation like you might with Fibre Channel, but we get well over 100MB/s to each workstation allowing us to cut and view Apple ProRes HD files all day long across 14 workstations simultaneously.
Here’s a diagram of what the system looks like in our shop. In our case, we’ve decided to keep one of the original 16TB Expansion chassis from our original SAN so we can use it as a direct connect to our Resolve system for RED / Alexa playback and to use as a “dump drive” for the big SAN when needed to clean up the RAID.
And of course if you have any more questions on how to set up and install one of these, you definitely want to call on the experts at Small Tree Communications.