Sunday, April 28, 2013

Special Effects Software Guide (Part One): CGI

Special Effects Software Guide (Part One): CGI
The special effects software guide is a three-part guide that covers most visual effect disciplines. It tells you what each discipline is, and which software can be used for it.

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Offline to Online with DSLR, GoPro and other non timecoded camera files

I recently had to deal with GoPro footage shot in slow motion - 720p/100.
The footage doesn't import well into Media Composer. The files play back at normal speed at 100 fps instead of playing slow at 25 fps. One second of footage should be 4 seconds to play back, and it wasn't. I got the same results in various project settings (25p, 25i, 50p...)
The workflow that best worked here was as follows:
  • Import footage to Adobe Premiere Pro into a 25p project
  • Select all clips, optn/ctrl click and choose Modify -> Interpret Footage and click Assume this frame rate - 25
  • Drag all clips to a new 720p/25 sequence (optionally ctrl click and Unlink Audio)
  • Click on the sequence you created and choose File - Export - Media and choose your favorite format. I chose DNxHD 185 720p/50 10 bit because it imports very quickly into Media Composer as it only doing a re-wrap and not actually transcoding the file, and it's good enough for television mastering.
What you end up with in this workflow is one long file, an equivalent to a digital tape, from which you work both your offline edit and finishing. It's the easiest and quickest way to conform your online (only one file to link) and saves an extra transcoding job.
This workflow will work fine for television. When going to bigger screens, DCP for example, it might compromise quality too much.
This workflow will suit most non timecoded camera files such as those from DSLR cameras, GoPro, mobile phones and others.

Saturday, April 27, 2013

Avid & Media Composer 7 at NAB 2013: What it *really* means to you

Avid & Media Composer 7 at NAB 2013: What it *really* means to you | Michael Kammes (.com):
New features were sparse for Media Composer 7 at NAB this year, but the announcements made do impact quite a few post workflows.  Let’s examine a handful of them:

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Deconstructing RAW - Part I

Deconstructing RAW - Part I | wolfcrow:
What is RAW, how is it used and why should you use it? These are questions I will try to address in this article, beginning with the question: What is a raw file?

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Free Online Video Training: Getting Started With Nuke

Free Online Video Training: Getting Started With Nuke | Premiumbeat.com:
Want to  jump into Nuke, The Foundry’s professional compositing and visual effects app? Check out this series of quick video tutorials to get started!

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Avid test patterns wrong?

Avid test patterns wrong? - Avid Community:
I've always used the Avid test patterns for monitor calibration and file checking, but today I discovered that they are unreliable :(

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Difference in AE file Imported into PPro with MPE in Hardware vs. Software Mode

Adobe Community: Difference in AE file Imported into PPro with MPE in Hardware vs. Software Mode:
I am getting an undesireable result when importing AE files into a PPro Sequence with MPE in hardware mode. The top (or left) pic is accurate, with MPE in Software mode (nice soft glow). In the bottom pic, MPE is in Hardware mode. Note the undesireable (and inaccurate) harder glow. These AE files are output in an uncompressed AVI with alpha channel. The pics below were imported into PPro with the AE file placed over a black clip in PPro (Video Layer 1=Black. Video Layer 2= AE text w/Alpha). Any thoughts, or better yet, solutions?!

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4 Things You May Not Know About the After Effects Render Queue

Toolfarm.com :: Tips: 4 Things You May Not Know About the After Effects Render Queue/ Adam Miller:
Cut down on your render time using these simple tricks right in the Render Queue! Covers: Post Render Action, Drag Comps to Adobe Media Encoder, Render Region of Interest and Image Sequence Rendering.

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Red Giant’s On-Set DIT Tool BulletProof Now in Beta

Red Giant’s On-Set DIT Tool BulletProof Now in Beta | Studio Daily:
Red Giant used NAB to officially launch its new logging, backup, review, on-set color and delivery tool, BulletProof, in private beta since April 1. A public beta will precede shipment of the full version this summer, for Macintosh only. A Windows version will be released later.

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Friday, April 26, 2013

Find Out What LTO Can Do for You at NAB 2013 by Jeremiah Karpowicz

Find Out What LTO Can Do for You at NAB 2013 by Jeremiah Karpowicz:
Paivi Juvonen from Quantum, Laura Loredo from HP and Bruce Master from IBM represetned the LTO Program at NAB 2013 and they shared some insights around the program with us. They tell us about the program as well as some of the exciting things they've seen at NAB 2013.

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Essential Tools for Digital Imaging Technicians

Essential Tools for Digital Imaging Technicians | Premiumbeat.com:
What tools does a DIT need to have at their disposal? This round up of the latest software and hardware releases will keep you up to date on the answer.

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Wednesday, April 24, 2013

USB 3.0 SuperSpeed: מהיר יותר, מחשמל יותר

אינטל הודיעה כי העדכון הבא ל-USB 3.0 SuperSpeed, השדרוג המשמעותי לתקן ה-USB המסורתי אותו למדנו להכיר, לא יסתפק בהגברת מהירות ההעברה של הקבצים, אלא גם יעניק מתח חשמלי גבוה יותר למכשירים המחוברים אליו. כלומר, כעת משתמשים יוכלו להעביר מידע בקצב מהיר יותר מבעבר, ואף יוכלו להטעין את מכשיריהם בצורה פשוטה ונוחה.

עוד...

Tuesday, April 23, 2013

DashCast

3D CineCast: DashCast:
DashCast is an open source application which allows users to:
Transcode a live/non-live stream in multiple qualities (eg. bitrate and resolution).
Segment a continuous stream in small chunks and packetize them for delivery via Dynamic Adaptive Streaming over HTTP (DASH) standard.

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Sony OLED Calibration

Sony OLED Calibration:
Some time ago, I did a blog post on how to correctly white balance your monitor and how essential this is to creating a calibrated viewing environment. I would go on to say that this is the MOST important component in any set to post workflow as color correction data generated on monitors that aren't displaying 100% chroma free white, is in fact completely useless.
So how does one determine if their monitor is displaying white that is truly white?

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Monday, April 22, 2013

4K Video Over 6G-SDI Connections

High Definition for PC » 4K Video Over 6G-SDI Connections:
We began seeing the first products supporting 6G SDI announced at NAB this year.  I heard this was coming, but didn’t fully grasp the significance of it until looking around the show floor.  Hardly anyone is using dual-link 3G connections, presumably for 1080p60 in full RGB, and basically all 4K work is done in RGB, so going from four cables to two isn’t that helpful.  But broadcast applications with QuadHD frame-sizes is where this new technology is going to be key.

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What does Avid make from Professional Video Editing Software?

What does Avid make from Professional Video Editing Software?:
We can use Avid’s accounts and their 10 filing to calculate revenue for their professional video editing software (i.e. Media Composer/Symphony and DS). In Avid’s 2011 10K filing they state:

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Squeeze 9 is faster at transcoding and exports complete HTML5 page

Squeeze 9 is faster at transcoding and exports complete HTML5 page:
A week ago Sorenson Media released Squeeze 9, a new version of their transcoding app. Squeeze 9 has several new features, a new interface design, and should be much faster. I tested it and got some unexpected results.

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Premiere Pro CS Next: Lumetri Looks Applied as Presets

Premiere Pro CS Next: Lumetri Looks Applied as Presets | Premiumbeat.com:
A new feature in the upcoming version of Premiere Pro will allow you to quickly add color grading to your video editing projects.

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Encoding Apple ProRes on a Windows PC with Redcine X Pro and FFMPEG

Encoding Apple ProRes on a Windows PC with Redcine X Pro and FFMPEG | Fallen Empire:
I’ve found an alternative workflow that is semi-automated and cheap using FFMPEG (or more specifically, a version called FFMBC with extra features for broadcast formats) and a neat Python script to bridge it with Redcine X Pro, or any other batch media encoder like Adobe Media Encoder or Sorrenson Squeeze.

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יש דרכים פשוטות (וזולות) יותר מזו. בדרכים האחרות גם כן יש שימוש ב FFMBC אבל הליכי העבודה ישירים יותר, אפשר לעשות batch והקובץ שמתקבל תואם למערכות העריכה בלי בעייה.
האופציה הפשוטה והקלה יותר היא תוכנה בשם Cinec. השנייה, מעט יותר מורכבת אבל עם גמישות גבוהה יותר היא AnotherGUI.

Sunday, April 21, 2013

VIDEO: After Effects ExtendScript Training: Ep. 1, 2 & 3 by David Torno

VIDEO: After Effects ExtendScript Training: Ep. 1, 2 & 3 by David Torno:
Welcome to the After Effects ExtendScript Script Writing Training series. My name is David Torno and I will be taking you through the process of creating scripts using Adobe's scripting language called ExtendScript. This is a weekly series focused on teaching you, the After Effects artist, how to create scripts using the ExtendScript programming language. Scripting can drastically improve workflows, speed up repetitive tasks as well as capture and output project information. If you have never tried ExtendScript or wanted to, but just couldn't find enough info to help you get started, then this series is for you. Seasoned programmers looking to understand how ExtendScript works could also benefit as well.

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Saturday, April 20, 2013

SES demos first Ultra HD transmission in more efficient HEVC standard

SES demos first Ultra HD transmission in more efficient HEVC standard:
SES recently demonstrated an Ultra HD transmission that uses the up and coming HEVC (High Efficiency Video Coding) standard, as opposed to the more established H.264. The 3,840 x 2,160 image was broadcast at a data rate of 20 Mbps, roughly a 50-percent improvement in encoding efficiency over H.264-based MPEG-4.

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Lightworks On Mac

Lightworks On Mac | Jonny Elwyn - Film Editor:
Lightworks is probably the first (?) truly cross platform NLE, running on Linux, Windows and (soon) Mac OSX. So although its exciting to see the demo above at NAB 2013 of Lightworks on Mac it obviously doesn’t look any different to any demos on Windows or Linux, because, you know, its the same program.

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Working with C300 LOG Footage in FCP7 - Plus Free LUTS

Working with C300 LOG Footage in FCP7 - Plus Free LUTS | Jonny Elwyn - Film Editor:
The other day I had to work with some C300 LOG footage in FCP7 and needed to quickly apply a LUT that would show the client what it might actually look like in the final grade. For a simple free way of doing this just grab LUT Buddy from Red Giant Software and follow the tutorial below. You can also download several free Canon C300 LOG LUTS from the great people at AbleCine.

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Demystifying Digital Cinema Camera Specifications – A Talk by Panavision’s John Galt and Canon’s Larry Thorpe

Demystifying Digital Cinema Camera Specifications – A Talk by Panavision’s John Galt and Canon’s Larry Thorpe:
Filmed in 2008, this talk is still packed with pertinent information. Referenced on a number of websites but missing from Panavision’s media page, I’ve taken the time to repost it on Youtube. In this talk, Panavision’s John Galt and Canon’s Larry Thorpe discuss the finer points of sensor design and how it relates to sensor resolution and the quality of the final outputted image. Other topics include 3-chip vs. single chip Bayer array cameras, the design of optical low pass filters and the concept of limiting resolution. It’s a natural extension of John Galt’s article on 4K resolution on CreativeCow.net.

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Friday, April 19, 2013

Photoshop Sneak Peek: New De-Blurring Tech

Photoshop Sneak Peek: New De-Blurring Tech:
Here’s a brief look at new image-sharpening technology the Photoshop team has been developing (previously hinted at during the last Adobe MAX):

Adobe Premiere Pro: Link & Locate

Adobe Premiere Pro: Link & Locate | Adobe at NAB 2013 | Adobe TV:
Modern productions are built on hundreds (if not thousands) of clips. It's easy to lose track of files, proxies, and backups saved on multiple drives. Link & Locate helps you track down your clips quickly, making media management more efficient.

Editing Storage in the Production Pits

Post Magazine - Editing Storage in the Production Pits:
Digital storage is a big part of the NAB show.  All that content has to be kept somewhere. Post production, including nonlinear editing, requires a lot of storage and with performance characteristics that are very different from most computer storage applications.

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Editing Arri Alexa files in an Avid Media Composer

Editing Arri Alexa files in an Avid Media Composer:
I wrote about this a couple of year ago here...
But now, in 2013, a lot has changed. There are plenty of Alexas in India, and many have RAW recorders - Codex and Gemini. Also, scores of films shot on Alexa have been released and a few have also had commercial success.

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Premiere Pro Next Introduces Avid DNxHD Preview and Smart Rendering

Premiere Pro Next Introduces Avid DNxHD Preview and Smart Rendering:
Kevin Monahan was kind enough to chime in on my question on the Adobe forums concerning what Adobe means when they say Adobe Premiere Pro Next will include full support for MXF-wrapped Avid DNxHD files. Turns out they really mean full support, including timeline preview rendering and smart rendering during export.

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Sony Expands 4K Codec to Ultra HD Consumer Products

Sony Expands 4K Codec to Ultra HD Consumer Products:


sony-4k-h264-avchd-long-gop-xavc-s-codec-format-mpeg4-mp4-compare-e1366067181412-616x279To date, Sony says that over 60 manufacturers have requested a license for XAVC, with over 31 different UHD products which will offer XAVC part of their supported codec lineup.   Those manufacturers include the usual suspects -  Blackmagic, Apple and Adobe, but there’s also Avid, Grass Valley, Matrox and a host of others which provide both consumer grade and professional hardware and software solutions.

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Thursday, April 18, 2013

FilmLight Goes On-Set and Adapts to ACES

FilmLight Goes On-Set and Adapts to ACES | VFX:
Among the new products is the Baselight ONE grading system, a diskless, 4U tower system with all Baselight creative tools plus a 2TB solid-state internal cache that can increase the processing performance. Slate is a new compact grading control panel designed for use with Baselight and Baselight Editions. It is based on Filmlight´s full Blackboard 2 panel, but in a smaller size and at a lower price.

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Wednesday, April 17, 2013

Coloristos #11: "NAB 2013 Highlights"

Coloristos #11: "NAB 2013 Highlights"
In this Episode of the ColorCast, the Coloristos discuss highlights for colorists at NAB 2013, including DaVinci Resolve 10, SpeedGrade CS7, Smoke 2013, the Scratch 8 preview, Mistika 7.2, and the new Baselight One Deskside and Slate Control Panel. They also cover new displays from Sony, Sharp, FSI, and Dolby, as well as major changes to Avid Media Composer and Symphony licensing, along with the curious omission of the RED Laser Projector at the RED booth this year.

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Introducing Promise VTrak A-Class

Xsanity - Introducing Promise VTrak A-Class:


This is a 4U chassis that integrates one or two MDC+RAID controllers and 24 4TB SAS drives. Each controller has four 8G FC ports, which can be connected directly to up to 4 clients or to more with a fibre switch. The drive array is expandable using standard Promise J-Class JBODs, E-Class RAID units, or a combination of the two. This scales to more than 7 petabytes managed by a single SAN controller.

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How to move a physical machine / server to a VMware VM

How to move a physical machine / server to a VMware VM | Krypted.com:
In recent months I have had a lot of questions regarding to to migrate physical serves to VM’s. And while VMware provides an excellent tool (VMware converter) for migrating physical machines / server , this tool does unfortunately  not support OS X as a source…..VMware hint hint !!

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Blackmagic Camera Post Workflow

Blackmagic Camera Post Workflow | Hurlbut Visuals:
In our second post on the Blackmagic Cinema Camera, we are going to look at some workflow options for getting both the CinemaDNG and ProRes files out of the camera and into the NLE of your choice. Keep in mind there are many factors that dictate how you will approach post workflow – storage space requirements, speed, hardware, software, quality and final delivery – just to name a few. (Here is a link to our first post on the camera.)

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NAB 2013 Displays

THE DIGITAL PARADE: NAB 2013 Displays:
I'm back in effect for a little NAB round-up. I attended this year and I'm going to give a run-down of the products that attracted my attention. First up: displays.

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Joust Standardizes Digital Pipelines from Set to Post

Joust Standardizes Digital Pipelines from Set to Post | Production:
The application’s purpose is to standardize digital pipelines and save money in the usual budgeted items such as VFX pulls and conform. It also can automate and put digital media and metadata in the control of production. Joust acts as a repository for data during principal photography, including data wrangling, script and camera notes as well as pertinent color information for each shot. Associated metadata will persist through the entire lifespan of a shot to final delivery.

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Tuesday, April 16, 2013

Mac OS X Lions get native Ext file system access

Mac OS X Lions get native Ext file system access - The H Open: News and Features:
Paragon has updated its Linux file system driver for Mac OS X to support Lion and Mountain Lion. ExtFS for Mac OS X 9.0 provides complete read and write access for Ext2, Ext3 and Ext4 filesystems. Paragon's drivers make it possible to create files larger than 4 GB and supports automatic mounting. As a low level filesystem driver, Ext2/3/4 drives appear directly in the Finder and appear as native OS X drives. According to Paragon, there's minimal performance loss compared to HFS+.The company builds its Ext file system driver on its in-house universal filesystem driver which it also uses to deliver NTFS for Mac 10.0. The Paragon ExtFS costs $39.95 and a 10 day trial version is available.

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After Effects Render and Replace in Premiere Pro and FCP7 – Using reLink reTooled

reTooled.net – After Effects Render and Replace in Premiere Pro and FCP7 – Using reLink reTooled:
A lot of films, TV shows, and commercials use After Effects as their go-to motion graphics, visual effects, and compositing platform. In some workdlows, its okay to render your final out of After Effects, but personally I find that workflow too limiting. After all, how often is an edit really “locked” when your client, producer, director, etc. say that it is? And to start tweaking an editor or worse have to play back edit changes from After Effects, isn’t ideal to say the least.

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Troubleshooting for Video Professionals – Six Forums You Need To Know

Troubleshooting for Video Professionals – Six Forums You Need To Know | Premiumbeat.com:
Knowing where to look for the solutions to your artistic, technical and creative career problems is half the battle to finding the solution you need. These forums may have the answer.

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Monday, April 15, 2013

Axle

Axle:
What is it? It’s is browser-based software for searching, managing and collaborating around media files. It costs $1,295 for each 5 users and runs on a Mac mini installed in the local network of a production facility. Version 1.0 is shipping now.

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Saturday, April 13, 2013

Importing AVCHD Footage into Avid

Importing AVCHD Footage into Avid | LateNite Films:
We have thrown together a quick little PDF tutorial on how to import AVCHD footage (specifically footage from a Sony NX5) into Avid Media Composer 6.5 using AMA. This tutorial assumes you are a beginner to Avid Media Composer, so it goes through all the steps in quite a bit of detail.

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Meet Cineware & Cinema 4D Lite

AE Users: Meet Cineware & Cinema 4D Lite | Motionographer:
Holy magic toolbelt Batman! When Adobe and Maxon announced a “strategic alliance”, I never dreamed this big. Todd Kopriva announces what’s new in the upcoming version of AE, including importing C4D files directly into AE.

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Is Your Archive Active?

Post Magazine - NAB 2013: Is Your Archive Active?:
Since professional video content has long time economic value, archiving has a recognized economic return.   As the resolution, frame rates and total amount of captured video content increase the amount of digital storage needed increases as well.  This trend is expected to continue in the future leading to a steady accumulating archived storage capacity.  Since video archives are likely to be accessed to monetize the content these archives are more often than not active rather than passive.  This means that the time to access the content is much shorter than a traditional passive archive.

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Steve Hullfish On Color Correction And Hardware Scopes by Bruce A Johnson

VIDEO: NAB 2013: Steve Hullfish On Color Correction And Hardware Scopes by Bruce A Johnson:
Steve Hullfish gives us the lowdown on why you should always use a hardware scope for color correction.

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Friday, April 12, 2013

RE:Vision Effects Releases RE:Match Multicam Color-Matching Plug-in for Adobe Premiere Pro and After Effects

RE:Vision Effects Releases RE:Match Multicam Color-Matching Plug-in for Adobe Premiere Pro and After Effects - Streaming Media Producer:
RE:Vision Effects, acclaimed effects plug-in industry leader and makers of Academy Award winning software, announces the initial release of RE:Match for Adobe® After Effects® and Adobe® Premiere Pro®. RE:Match takes intuitive color and texture matching to a whole new level by addressing common problems on multicam and stereo shoots. RE:Match is a set of plug-ins to match one view of video or film to another so that it looks as if it was shot with the same camera and settings. RE:Match assumes that both image sequences are taken roughly at the same location but perhaps were not shot at the same time or from the same point-of-view.

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Version 11 of Pro Tools finally cures its Achilles’ heel

NAB 2013: Version 11 of Pro Tools finally cures its Achilles’ heel by Allan Tépper:
Forget about its brand-new engine, 64-bit architecture, and expanded metering. The most important improvement I see in the palindromic version 11 of Pro Tools is that with this update, the renowned audio editing tool from Avid will finally cure its Achilles’ heel. I am talking about its (up until version 10) prolonged “real time” bounce/export, which has prevented Pro Tools' acceptance among many time pressed editors of long-form applications, including audiobooks and audio podcasts. At the press conference at NAB 2013, an example given by Avid included a two-hour sequence exported from Pro Tools 11 in 48 seconds, instead of 120 minutes. Now Pro Tools will be able to compete in those situations with apps like Adobe Audition and Apple Logic.

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Open Source Column: Dynamic Adaptive Streaming over HTTP Toolset

Open Source Column: Dynamic Adaptive Streaming over HTTP Toolset - ACM SIGMM Records:
Multimedia content is nowadays omnipresent thanks to technological advancements in the last decades. A major driver of today’s networks are content providers like Netflix and YouTube, which do not deploy their own streaming architecture but provide their service over-the-top (OTT). Interestingly, this streaming approach performs well and adopts the Hypertext Transfer Protocol (HTTP), which has been initially designed for best-effort file transfer and not for real-time multimedia streaming. The assumption of former video streaming research that streaming on top of HTTP/TCP will not work smoothly due to its retransmission delay and throughput variations, has apparently be overcome as supported by.

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NAB: Industry-first open source implementation for HEVC, backed by ATEME

NAB: Industry-first open source implementation for HEVC, backed by ATEME | Videonet:
ATEME has announced what it says is the industry’s first open source implementation of a software media player supporting High Efficiency Video Coding (HEVC). The implementation is available immediately. Service providers and broadcasters are able to accelerate experimentation of the new HEVC Codec standard in the field thanks to this development, the company says.

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Thursday, April 11, 2013

Conform in your NLE with Our New Software

Conform in your NLE with Our New Software:
You take your offline edit and export an xml. Then open up reLink reTooled, load that XML and point it to your new media. Then you can choose your relink criteria and save out an XML that references your new media. That’s all. I’ve been using this tool for many months now, and have put it to the test on large national clients. Using a combination of FCP7 and After Effects, conforms have been simplified and transformed from the days of capturing from a D5. The whole process is intuitive and simple. But your best bet is to just watch the video and see it in action. Check out a brief teaser above and a full demonstration below.

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NAB 2013: Fujifilm IS-mini Color Management Tool

NAB 2013: Fujifilm IS-mini Color Management Tool | CineTechnica:
Now that there are more cameras capable of shooting LOG or Raw, the art of creating looks or LUTs has become more important than ever. While you can usually rely on the in-camera LUTs, there are many times you need to have more control over the image. The same can be said of using multiple monitors on set and trying to ensure they all match as closely as possible. Fuji has built upon the power of the CCBox and introduced the IS-mini, a powerful color management tool that has multiple uses on and off set. Watch my video above to get a glimpse at what this box is capable of and read Fuji’s full press release for more details.

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Velarium is a new entry into the DIT data wrangling tool by Scott Simmons

Velarium is a new entry into the DIT data wrangling tool by Scott Simmons:
While not tool in a booth on the NAB show floor Elklight Software’s Velarium is another DIT -centric tool for the offload and transcoding of file-based, mainly DSLR, media. It takes a different approach than Red Giant Software’s BulletProof. Velarium is a more focused tool that presents a single-window approach to its task. The developer is based in my hometown of Nashville and I’ve been having a number of discussions about the tool and what I, as an editor, would expect in the files I receive for editorial. It looks like a promising product that’s going to be trying to find its way in the growing DIT offloading tools.

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Wednesday, April 10, 2013

BulletProof Unveiled

Prolost - Blog - BulletProof Unveiled:
Large productions with high-end digital cinema cameras tend to be supported by a full DIT (Digital Imaging Technician) cart with customized software and hardware. But where was the DIT tool for indies? Red Giant saw an opportunity to bolster the workflow of one of the most common types of shoot—the DSLR-based, small-but-capable indie crew. So about 18 months ago, we sat in Sean Safreed’s dining room in San Francisco and started sketching ideas for BulletProof.

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Time Saving Tip – Replace Audio in Quick Time Pro 7

Time Saving Tip – Replace Audio in Quick Time Pro 7 | Premiumbeat.com:
It never fails that you’ve just spent good time exporting your film from your NLE, run it through a compression program to turn it into a client friendly H.264 file and a last minute audio tweak or music change comes through. Save time re-exporting and re-rendering with this simple method of replacing the audio in your quicktime file. This is particularly useful if you’re a composer or mixer appending new audio to a file for client review.

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LCD, LED, Plasma, OLED TVs as Fast As Possible - YouTube

LCD, LED, Plasma, OLED TVs as Fast As Possible - YouTube:
LCD, LED, Plasma, OLED - These terms get uses by sales people at your local TV store, but do you REALLY understand what they mean? Learn the basics in under 3 minutes!

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News: Glue Tools, LLC announces new lower pricing and NAB specials.

News: Glue Tools, LLC announces new lower pricing and NAB specials.:
Cineon/DPX Toolkit allows MacOSX and any QuickTime enabled Application to work with Cineon or DPX Sequences directly. With this package, Finder becomes fully aware of these files. MacOSX services such as Spotlight, Thumbnail Previews, and basic QuickTime Playback is provided. The Cineon file format is a widely used digital film image format which was developed by Kodak for the Feature Film industry. The DPX digital image file format was developed by SMPTE and is used heavily in the Feature Film and High Definition broadcast industries for production.

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Premiere Pro Next Vs FCPX 10.0.8

Premiere Pro Next Vs FCPX 10.0.8 | Jonny Elwyn - Film Editor:
If you’ve been following the NAB 2013 announcements you’ll know that Adobe is making steady strides towards the professional post-production market with plenty of new features that editors have been requesting for quite some time.
Also in the run up to NAB Apple went on a charm offensive; getting some articles in the LA Times about FCPX and releasing some new ‘pro user case studies‘ on their site. This came in the midst of a small update to FCPX 10.0.8.

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HGST Announces 12Gb/s SAS SSD

HGST Announces 12Gb/s SAS SSD | StorageReview.com - Storage Reviews:
HGST is announcing a summer release for their new 12Gb/s MLC SAS SSD family, the first 12Gb/s SAS SSDs on the market. Three models comprise the new line including the Ultrastar SSD800MH, Ultrastar SSD800MM and Ultrastar SSD1000MR. The new SAS SSDs utilize co-developed Intel/HGST controllers as well as high endurance 25nm MLC NAND. HGST designed these new drives for the most performance demanding applications such as high-frequency trading, online banking, cloud computing, online gaming, and big data analytics. These applications will benefit from hot caching delivered by the new 12Gb/s SAS SSDs.

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Blackmagic Design announces DaVinci Resolve 10 - what's new + video interview!

Blackmagic Design announces DaVinci Resolve 10 - what's new + video interview! - motionVFX Blog:
Blackmagic DaVinci Resolve 10 is coming and it brings some amazing new features! It has has upgraded on set tools, upgraded editing features, support for OpenFX plug ins as well as new tools for delivering final project masters to cinemas. As you will learn from the video below, the new Resolve Live feature is pretty exciting as it allows color grading direct from the video input live with full creative power such as primaries, secondaries, power windows, custom curves and more! It also offers enhanced editing features and allows online finishing of edits performed in other popular editing software. Maybe it will even replace other NLEs? Especially that editing features include full multi track editing with 16 channels of audio per clip and unlimited video and audio tracks in the timeline!

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Cloud transcoding rages at NAB

Cloud transcoding rages at NAB | Broadcast Engineering Blog:
It would be easy to come away from the show imagining that almost all transcoding will soon be taking place in the cloud because of its compelling economics, but that is not going to happen just yet. In many cases transcoding will continue to be an in-house operation because it is closely aligned with other processes hosted in the data centre such as digital asset management (DAM). By the same token, cloud based transcoding services that offer associated functions including DAM in integrated packages will have particular appeal to small operators or those starting from a clean slate for multi-screen deployments.

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Red Giant Announces BulletProof at #NABShow 2013

Red Giant Announces BulletProof at #NABShow 2013 | Post Production Engineer | Broadcast Engineer | Video Engineer | Studio Engineer:
Red Giant today announced BulletProof at NAB 2013 in Las Vegas, NV. BulletProof is a complete offload, prep and delivery solution for footage that simplifies the tedious tasks facing filmmakers on set every day. Bridging the gap between camera and editor, BulletProof combines all backup, organization, color and delivery tasks while handling footage from multiple cameras and media cards. Whether shooting with a Canon DSLR, Nikon DSLR or GoPro sports cam, filmmakers, videographers and data wranglers can now quickly and easily transform their capture into edit-ready footage.

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SpectraCal and Flanders Scientific Announce 3D LUT Calibration at #NABShow

SpectraCal and Flanders Scientific Announce 3D LUT Calibration at #NABShow | Post Production Engineer | Broadcast Engineer | Video Engineer | Studio Engineer:
“Flanders Scientific has long played an admirable role in educating the market about the importance of accurate images displayed in accordance with industry standards, and SpectraCal is pleased and honored to become part of their solution for giving customers the most accurate video representation possible,” said Derek Smith, SpectraCal’s founder and Chief Technical Officer.

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Falcon Ridge Thunderbolt Controller 20Gbs 4K Video File Transfer & Display Simultaneouslythun

Falcon Ridge Thunderbolt Controller 20Gbs 4K Video File Transfer & Display Simultaneously: : Cinescopophilia:
At the National Association of Broadcasters (NAB) in Las Vegas, Intel made some key announcements regarding Thunderbolt technology, the fastest data connection available in your personal computer. Intel introduced the Intel DSL4510/4410 Thunderbolt controllers which add DisplayPort 1.2 capability when connecting to native DP displays, improve power management, and reduce platform BOM cost.

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Fusion-io Unveils 1.6TB ioFX for Workstation Applications Such as 4K VFX and Stereoscopic 3D Production

Fusion-io Unveils 1.6TB ioFX for Workstation Applications Such as 4K VFX and Stereoscopic 3D Production | 3Droundabout:
Fusion-io (NYSE: FIO) today announced that the ioFX workstation acceleration platform is now available with 1.6 TB of capacity, in addition to the original 420 GB form factor. The high capacity ioFX is ideal for video editing, computer assisted design (CAD), 4K and stereoscopic production, as well as digital intermediate (DI) finishing.

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4K at 1000 fps thanks to the amazing new Phantom Flex 4K by Vision Research! - motionVFX Blog

4K at 1000 fps thanks to the amazing new Phantom Flex 4K by Vision Research! - motionVFX Blog:
4K at 1000fps? Not a problem! Only a few days ago we wrote about the FT-ONE (here) and now Vision Research reveals the exciting new Phantom Flex 4K camera! There's one big difference though - the Phantom Flex 4K will cost $140,000 with a 2TB CineMag, so probably a little bit more than the Japanese product. But on the other hand with any Phantom Flex camera you know what you pay for and you can always rent one if you want to shoot some slowmo scenes. The new camera is not final, so some specs might change and new features can still be implemented, but Vision Research presented a working unit at NAB. The camera should be out in October, so there's still enough time to make it even better - can't wait to see how it will shape up! And here are two videos that will give you a good overview of the camera - there's some very nice first footage here that was recorded by director Brendan Bellomo and cinematographer Greg Wilson who were asked by Vision Research to shoot it. The camera was a little more than a week old and it was an alpha prototype, but still - this looks awesome!

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Blackmagic Design and Autodesk Set to Collaborate on Future Projects: : Cinescopophilia

Blackmagic Design and Autodesk Set to Collaborate on Future Projects: : Cinescopophilia:
Blackmagic Design and Autodesk announced that the two companies intend to collaborate on future integrations between Blackmagic Design technology and Autodesk technology. This collaboration will build seamless workflows for customers in the professional video, television and commercial post-production industries.

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Monday, April 8, 2013

Blackmagic Design Announces World’s First 6G-SDI Products Are Shipping!

Blackmagic Design Announces World’s First 6G-SDI Products Are Shipping!:
HyperDeck Studio Pro, UltraStudio 4K and DeckLink 4K Extreme including 6G-SDI connections are shipping and support Ultra HD! (Las Vegas NAB Show, Nevada--April 8, 2013) Blackmagic Design today announced that it has adopted 6G-SDI video for multiple products, including some that are already shipping. This 6G-SDI has been included when these products were originally shipped with software now being released to add the 6G-SDI Ultra HD formats to these products.

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Blackmagic announces Production Camera 4K, $995 Pocket Cinema Camera with MFT mount

Blackmagic announces Production Camera 4K, $995 Pocket Cinema Camera with MFT mount (hands-on):
Blackmagic announces Production Camera 4K, $995 Pocket Cinema Camera with MFT mount handson videoA sub-$1,000 price tag makes any product a relative steal on the floor of NAB -- impressive specs and industry standard compatibility are just icing on the cake. If such figures are any indication, however, Blackmagic's new Pocket Cinema Camera, which leaked earlier today and ships in July, is potentially a very solid buy at $995, with a Super-16 Cinema 1080HD sensor with 13 stops of dynamic range, CinemaDNG RAW recording, SD card storage, Micro HDMI monitoring and a Micro Four Thirds lens mount.

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Blackmagic Design Announces DaVinci Resolve 10

Blackmagic Design Announces DaVinci Resolve 10 | Broadcast Engineering [primary-term] press release archives:
NAB 2013, Las Vegas, USA - April 8, 2013 - Blackmagic Design today announced DaVinci Resolve 10, a major upgrade that includes new features for integrating the workflows of multiple different software products used in the film and television industry. DaVinci Resolve 10 has upgraded on set tools, upgraded editing features, support for OpenFX plug ins as well as new tools for delivering final project masters to cinemas.

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EBU, SMPTE and VSF form Joint Task Force on Networked Media

EBU Technology & Innovation - News - EBU, SMPTE and VSF form Joint Task Force on Networked Media:
The Task Force’s primary objective is to ensure interoperability in packet-based systems (networking, equipment and software) for professional media. This implies defining an agile, on-demand, packet-based network infrastructure that supports a variety of distributed, automated, professional media (file- and stream-based) workflows for local, regional and global standards-based production, supporting any format, to reduce cost of ownership and content time-to-market.

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Blackmagic 4K Production Camera For 4K and Pocket Cinema Camera Leaked

Blackmagic 4K Production Camera For 4K and Pocket Cinema Camera Leaked: : Cinescopophilia:
At a dealer meeting for Blackmagic Design at NAB a photo slipped out of a series of banners with a Blackmagic Production Camera 4K for $3995 and a $995 Pocket Cinema Camera on them. A few peeps tweeted the same photo but let’s go with @michaelkammes as he at least spelled the name of the company right so we will credit the pic to him. Make what you will with it.

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Media Composer 7 | Accelerate your high-res workflow

Media Composer 7 | Accelerate your high-res workflow:
Media Composer has long been the most trusted tool of professional editors. Media Composer 7 opens your possibilities even further, simplifying and accelerating file-based workflows and extending real-time production everywhere so you can focus on telling the best story possible. From new high-res workflows and AMA media management, to automated media operations and global collaboration, experience the industry’s preeminent NLE, now starting at just $999 USD.


  • Accelerate HD delivery from high-res sources, with full creative control of image framing
  • Spend more time on your story, as the software tackles media tasks in the background
  • Collaborate remotely and extend real-time production everywhere in the world
  • Get the industry-proven and trusted film and video editing tool starting at just $999 USD
  • Add advanced color correction tools to Media Composer with the new Symphony option




  • Tools and Utilities for Filmmakers

    Tools and Utilities for Filmmakers | GLJ Media Group:
    This is the Dependent Films Download Center. It’s unbelievable 1) how much these files can help, and 2) how hard all of these tools are to find on the net. Thus, this is why we’ve assembled this compilation for all of you aspiring filmmakers out there. Best of all, they’re all FREE (a favorite word for all independent filmmakers). These programs have really helped our productions, and hopefully they can help yours as well. If you have any other programs you know of online or have questions about the origins of these files.

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    What is Adobe Anywhere?

    John Nack on Adobe : What is Adobe Anywhere?:
    Adobe Anywhere helps editors, VFX artists, and other video pros simultaneously access, stream, and work with remotely stored media. As the product site says, “There’s no need for heavy file transfers, duplicate media, or proxy files.

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    Sorenson Media Launches Squeeze 9 with Industry-First HTML5 Optimization, Streamlined User Experience, Higher Quality and Faster Speeds

    Sorenson Media Launches Squeeze 9 with Industry-First HTML5 Optimization, Streamlined User Experience, Higher Quality and Faster Speeds
    Benefits of the newest version of Squeeze include industry-first HTML5 optimization; an enhanced, more intuitive streamlined user interface and optimized user experience; significant enhancements to video quality and speed; and improvements to the product’s unique review and approval functionality.

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    EditShare To Show Lightworks for Mac At Show

    Definition Magazine - Def Mag - NAB 2013: EditShare To Show Lightworks for Mac At Show:
    EditShare will show the highly anticipated Mac version of Lightworks for the first time at NAB 2013. Lightworks has been redesigned to work on Mac OS X, making it the first professional NLE to be tri-platform (Windows, Linux and Mac).

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    MXF TimeCode Editor

    3D CineCast: MXF TimeCode Editor:
    Blue Lucy Media is providing a free tool which allows users to read and set the start time-code and frame rate values of an MXF file.

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    Browse Proxy Transcoder

    3D CineCast: Browse Proxy Transcoder:
    The BLM Ingest service provides the ability to create the browse proxy in real time during linear ingest and in BLM deployments in which material arrives in the file domain a simple browse proxy transcoder is provided for ‘low-res’ generation.

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    Avid Pro Tools 11 Sets New Standard for Audio Production

    Avid |News Room:
    Core engine, 64-bit architecture, and expanded metering empower audio professionals to handle the most demanding sessions, compose with more virtual instruments and effects, and collaborate directly with Media Composer editors.

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    Saturday, April 6, 2013

    Vizrt enhances Viz Media Engine integration with the next version of Adobe Premiere Pro software

    News: NAB 2013: Vizrt enhances Viz Media Engine integration with the next version of Adobe Premiere Pro software:
    Vizrt’s integration with Adobe Premiere Pro gives editors more efficient access to source material by allowing them to search and select from Viz Media Engine directly within the panels in Adobe Premiere Pro. This integration has been further enhanced for even more efficiency in the workflow and better integration for Mac users.

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    LeoMoon Renamer 1.10 [Mass Search and Replace]

    LeoMoon Renamer 1.10 [Mass Search and Replace]:
    This program can do mass search and replace on multiple files inside a folder with recursive and case sensitive options (No RegEx yet). Depending on how many files you have and/or how many search and replace you want to perform, this might take a few minutes. That's why I also included stats while this program is running.

    What’s new next in Adobe Prelude

    What’s new next in Adobe Prelude:
    Jump-start your production with Adobe Prelude, a unified interface for easy ingest, logging and transcoding that allow you to work faster, stay organized, and prepare your digital footage for a streamlined post-production process. Today we are revealing the next version of Adobe Prelude as well as our other professional video and audio applications – Adobe Premiere Pro, After Effects, SpeedGrade, Adobe Media Encoder and Audition.  To see all the top new features in the future versions of these apps, click here.

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    What’s new next in Adobe Media Encoder

    What’s new next in Adobe Media Encoder:
    Today we are revealing new features that are coming the next version of Adobe Media Encoder as well as our other professional video and audio applications, Adobe Premiere Pro, After Effects, Audition, Prelude, and SpeedGrade.  To see sneak peeks of all the Adobe professional video and audio products, click here.

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    Custom Metadata and Searches in Premiere Pro

    Custom Metadata and Searches in Premiere Pro:
    Ever wonder how you can organize your project at a level beyond bins? Sure bins are great, but what if you want to have more specific categories. Perhaps you need a clip to appear in 2 different bins, it fits your animals category of clips but also fits your water category of clips. There’s no need to duplicate your clip, you can use custom metadata to add more fine-grained organization to your project.

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    How to Import F5/F55 Footage in FCP, Avid and Premiere

    How to Import F5/F55 Footage in FCP, Avid and Premiere:
    With every new camera, come many new questions about workflow. The term “workflow” can be fairly broad, but today I am looking at importing Sony F5/F55 footage into various non-linear editing systems (NLEs). Both the F5 & F55 can record in MPEG2 (XDCAM), XAVC and HDCAM SR formats internally. With the addition of the AXS-R5 recorder, they can also record in Sony Raw. This article is focused on MPEG2 and XAVC, but be sure to keep an eye out for future blogs on working with Sony Raw and HDCAM SR. The F5 & F55 workflows are similar to that of the F3 and XDCAM EX cameras, but with some significant changes. Below, I outline how to ingest footage onto a hard drive and how to import into Avid Media Composer 6.5, Final Cut Pro X, Final Cut Pro 7 and Premiere CS6. Keep reading for a brief how-to on each process.

    Friday, April 5, 2013

    News: Tiger Technology Introduces cluStore TLE – Affordable Hierarchical Storage Management Solution Leverages IBM Linear Tape File System For Windows Workflows

    News: Tiger Technology Introduces cluStore TLE – Affordable Hierarchical Storage Management Solution Leverages IBM Linear Tape File System For Windows Workflows : NAB Expo:
    Tiger Technology, the leading developer of high performance storage area networking (SAN), software management tools and integrated appliances, today announced cluStore TLE, a new server-based hierarchical storage management (HSM) software solution that leverages the universal IBM® Linear Tape File System™ (LTFS) tapes and tape libraries for the Windows operating system. Aimed at the rich-media and entertainment industry and other communities challenged to store, access and archive petabytes of data, the tiered HSM structure represents a paradigm shift in the way users interact with their storage resources, as it allows archived data to be seamlessly integrated as part of the main storage pool for unmatched ease-of-use and interoperability in day-to-day operations.

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    New Benchmark Results for NVidia Video Cards and Adobe Premiere

    New Benchmark Results for NVidia Video Cards and Adobe Premiere:
    I just did an update on my article about Video Cards and Adobe Premiere.  The update is new benchmark results with and without the GPU enabled using the following video cards:
    GT-240, GTX-550 Ti, GTX-570, GT-640, GTX 650 Ti, GTX 650 Ti Boost, GTX-660, GTX-670, GTX-680 and a Quadro 4000 video card.

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    ProEXR 1.8

    ProEXR 1.8: Eagle-eyed Adobe watchers who have read through the list of features in the next version of After Effects have seen that it will include version 1.8 of the ProEXR plug-ins. Yes, such a thing does exist, and I'm releasing it today. The next AE may not ship for a little while, but you can grab these plug-ins now and use them in whichever version you've got, all the way back to CS3.





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    Final Cut Pro to After Effects

    Final Cut Pro to After Effects:
    So, I’ve been working with learning more of After Effects this week.  I’m a Final Cut Pro 7 user, and wanted to know how to import my FCP7 project into AE CS5 to add more effects & grading.  Upon further research, I found these two videos…

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    AMWA Releases ‘MXF for Production’ Specification | Advanced Media Workflow Association

    AMWA Releases ‘MXF for Production’ Specification | Advanced Media Workflow Association:
    AMWA Releases ‘MXF for Production’ Specification
    AS-10 details an interoperable format for end-to-end workflows based on long GOP MPEG-2 coding.
    Atlanta, GA – April 3 2013: The Advanced Media Workflow Association (AMWA) has released Application Specification, AS-10, “MXF for Production”. This specification, built on the Sony XDCAM HD Format (SMPTE RDD-9), allows an end-to-end workflow to use a single file.
    Dan Shockley, Chief Video Engineer at CNN, explains the need for the Specification: “While CNN’s news production workflows operate at a very high scale and rate of throughput, the need for efficiency and interoperability is the same as virtually every news production operation. With AS-10, we maintain interoperability between systems with a single file, eliminating the need for transcoding or rewrapping, and ultimately achieving higher levels of speed and quality in our production processes. Less tightly specified MXF implementations provided by vendors to date have not delivered this level of interoperability.”
    AS-10 is a MXF file format for typical end to end production workflows including camera acquisition, server acquisition, editing, play-out, digital distribution and archive. AS-10 is compatible with existing MXF based systems & devices that a broadcaster may already have deployed.
    Previous specifications had ambiguities that could lead to inconsistent implementations. AS-10 adds details to facilitate the design of interoperable products supporting the codec family.
    Shockley, who was the AMWA Product Owner for AS-10 said, “We have added support for recordings that span several files, for example across multiple camera cards. The Specification also details how to access growing files for edit during ingest, both essential features for fast-paced news operations.”
    AS-10 does not require Descriptive Metadata. However Descriptive Metadata may be useful as part of a production workflow and is supported by the Specification AS-10 adds support for descriptive metadata, removing the need for XML sidecars to carry metadata.
    Shockley added, “In addition to this specification a reference implementation including a validator and golden files is available to AMWA members.”
    Brad Gilmer, Executive Director of the AMWA, said, “This Specification, MXF for Production, is another step in our mission to create interoperable media applications that see ‘MXF at Work’.”

    "Tears of Steel" Original Footage

    "Tears of Steel" Original Footage:
    The short film "Tears of Steel", code-named "mango" during development, was a Blender Open Movie Project. It developed an open vfx pipeline for compositing computer generated elements with live action video. It was originally released 2012 September 26.



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    FilmLight to Demonstrate New Color Control Systems at NAB

    FilmLight to Demonstrate New Color Control Systems at NAB:
    At NAB 2013, FilmLight will launch its new Baselight ONE grading system – a diskless, 4U tower system with the full Baselight creative toolset, and a 2TB solid-state internal cache, as well as Slate – a new compact grading control panel that retains the features and ergonomics of the Blackboard 2 panel, but in a smaller form factor and at a lower price point.

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    Thursday, April 4, 2013

    What’s new and changed in the next version of After Effects

    What’s new and changed in the next version of After Effects | After Effects region of interest:
    As our product manager Steve Forde just announced, today we are revealing the next version of After Effects, as well as our other professional video and audio applications.
    For information about the next versions of all of our professional video and audio applications, including videos and illustrations, check out the snazzy reveal portal page.

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    NLE Color Correction Round Up

    NLE Color Correction Round Up | Jonny Elwyn - Film Editor:
    If you’re looking to get some quick colour correction done then often the fastest place to do that is right there on your timeline. Most of my colour correction and grading gets done inside FCP7 and if there’s time, I’ll round trip out to Resolve Lite. As most NLE colour correction tools are very similar, what you learn in one should be readily transferable to others.

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    What’s coming in the next version of SpeedGrade?

    What’s coming in the next version of SpeedGrade?:
    It’s been a little less than a year since SpeedGrade joined the family of Adobe pro video applications with the launch of CS6 in May 2012. We are so gratified with the positive response and thrilled that so many of you have been making the move into the exciting world of color grading.

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    Adobe After Effects CS7 to include a live 3D pipeline with Cinema 4D Lite

    Adobe After Effects CS7 to include a live 3D pipeline with Cinema 4D Lite - News - Digital Arts:
    The headline feature is what Adobe's business development manager for video Niels Stevens describes as a 'live 3D pipeline' between After Effects CS7 * and Maxon's Cinema 4D. The traditional workflow with Cinema 4D and After Effects is that scenes created in Cinema 4D can be rendered out with multiple passes to bring some information into After Effects, but any changes in Cinema 4D require re-rendering and re-importing of renders into AE.

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    Ciphertex to Introduce CX-6K-AV at NAB

    Ciphertex to Introduce CX-6K-AV at NAB | Below the Line:
    Ciphertex, a global provider of hardware-encrypted storage products, will unveil the CX-6K-AV at the NAB Show in Las Vegas next week. This new 24TB portable, highly-secure NAS server is ideal for backup, disaster recovery and business continuity, file sharing and virtualization. It will be showcased at booth #SL12510, along with the company’s full line of encrypted digital storage systems.

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    ProApps QuickTime Codecs v1.0.2

    ProApps QuickTime Codecs v1.0.2:
    This update adds the following video codecs for use by QuickTime-based applications:
    • Apple Intermediate Codec
    • Apple ProRes
    • AVC-Intra
    • DVCPRO HD
    • HDV
    • XDCAM HD / EX / HD422
    • MPEG IMX
    • Uncompressed 4:2:2
    • XAVC
    This update is recommended for all users of Final Cut Pro X, Motion 5, or Compressor 4

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    TVLogic 30 Inch 4K DCI Monitor Plus 5 NEW Broadcast Models Coming to NAB

    TVLogic 30 Inch 4K DCI Monitor Plus 5 NEW Broadcast Models Coming to NAB: : Cinescopophilia:
    TVLogic is set to debut a new 30″ 4K DCI monitor specifically designed for demanding 4096 x 2160 DCI 4K digital cinema monitoring − featuring the widest viewing angle, contrast ratio, and colour gamut of any 4K display in its size and class.

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    Adobe reveals Adobe Premiere Pro 7 - Looks, OpenCL support and much more!

    Adobe reveals Adobe Premiere Pro 7 - Looks, OpenCL support and much more! - motionVFX Blog:
    The next version of Adobe Premiere Pro is coming and this new release can be very much exciting - Premiere Pro CS7 will feature Looks effects (more info below), but what's even better the company decided to fully support ATI Radeon GPUs! The improved Mercury Engine will now not only support CUDA (available only in nVidia cards), but also OpenCL! It means that the software will be able to render videos much faster when using third-party effects and this can geatly improve your experience with Premiere Pro if you own an ATI card - and actually many Macs feature Radeon video cards, so this is a very much welcomed update. FCP7 users will also be pleased as they will find some ideas taken from Apple's software - for example pink lines on clips that indicate duplicated frames. There are also some other interface tweaks that will improve the work with Premiere Pro CS7 - for example now it will be much easier to rejoin clips that were cut in two using the Razor tool.

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    Adobe Shows Off CS7 NAB Sneak Peek | EditingWhiz

    Adobe Shows Off CS7 NAB Sneak Peek | EditingWhiz:
    Right before the 2013 NAB Show, Adobe released a sneak peek of the next version of their video applications – Premiere Pro, After Effects, SpeedGrade, Prelude, Audition, and Story Plus.

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    How the Hackintosh Suddenly Caught Fire by Mark Christiansen

    How the Hackintosh Suddenly Caught Fire by Mark Christiansen:
    This is the story of one man’s experience assembling and running a Hackintosh. For anyone unaware of this illicit, but not yet forbidden alternative to the Mac Pro and altnerative systems from Apple, it is a custom-built computer - one which would straightforwardly run Windows or Linux - with an installation of a slightly modified (hacked) Mac OS that will boot on non-Apple hardware, in clear violation of the terms of the Mac OS.

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    Wednesday, April 3, 2013

    Introducing Kollaborate - the cloud platform for media professionals

    Introducing Kollaborate - the cloud platform for media professionals:
    We're proud to announce our latest product - Kollaborate, the cloud workflow platform for media professionals. Launching today in public beta, Kollaborate provides storage space and collaboration capabilities for you and your team.

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    Blender: Jack of all trades, but in a good way!

    RedShark News - Blender: Jack of all trades, but in a good way!:
    Anyone working with digital tools today has a wide choice of applications for specialized tasks. An office suite consists of a program for writing text, one for spreadsheets, presentations, a database etc. For a VFX workflow you might use a tool for tracking, one for compositing, one for editing, various tools for simulations and specialized applications for modelling, sculpting, texturing and animation. RedShark contributor and Blender expert Gottfried Hoffmann reports.

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    ProMAX Unveils Platform Studio at NAB 2013 by PVC News Staff

    ProMAX Unveils Platform Studio at NAB 2013 by PVC News Staff:
    ProMAX, the innovative provider of turnkey editorial, shared storage, and asset management solutions, will debut Platform Studio at NAB 2013. The new ProMAX product brings high-end collaboration and data management at a price point that enables small creative workgroups with advanced workflows previously only seen in larger facilities. With the launch of Platform Studio, this fast growing segment of the professional film and video market will have access to enterprise-level shared storage, data management and data protection without having to invest in greater echelons of IT infrastructure.

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    Tuesday, April 2, 2013

    News: DIT Station Unveils New and Improved Version of Portable On-Set Data/Playback Workstation

    News: DIT Station Unveils New and Improved Version of Portable On-Set Data/Playback Workstation:
    (Irvine, California--March 29, 2013) DIT Station today introduced the DIT Station Rogue4, the newest version of the company's ultra-portable and compact on-set data management and playback workstation. The Rogue4 is faster than ever before, with Sonnet Technologies' built-in Thunderbolt™ expansion, media ingest, and storage solutions offering performance up to 900 MB/s. Sonnet and DIT Station will demonstrate the DIT Station Rogue4 in the Sonnet Technologies booth SL10924 at the 2013 NAB Show.

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    Monday, April 1, 2013

    Digital cinema projection

    Digital cinema projection:
    Before screening a digital cinema package (DCP)/digital film you should do these steps:
    These steps are taken from the Pixar Projection guidelines for Cars 2


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