Monday, April 8, 2013

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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Thursday, March 28, 2013

Autodesk Debuts 2014 Entertainment Creation Suite

Autodesk Debuts 2014 Entertainment Creation Suite:

Autodesk Debuts 2014 Entertainment Creation SuiteAutodesk announced the new features of the Autodesk Entertainment Creation Suite 2014 today. The versatile workflow includes award-winning 3D animation, visual effects and creative tools, Autodesk Maya 2014, Autodesk 3ds Max 2014, Autodesk MotionBuilder 2014,Autodesk Mudbox 2014, Autodesk Softimage 2014 and Autodesk Sketchbook Designer 2014, all which have been updated to offer new workflow enhancements that help artists collaborate, manage complexity and move data through their pipeline more efficiently.



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Sonnet Expands xMac™ mini Server Lineup; New Model Supports Two Half-Length, Full-Height PCI Express® Cards

Sonnet Expands xMac™ mini Server Lineup; New Model Supports Two Half-Length, Full-Height PCI Express® Cards:
xMac mini Server 2H is Sonnet's Second Thunderbolt™-to-PCIe® Expansion System and 1U Rack Enclosure for Mac® mini With Thunderbolt Port (Irvine, California--March 27, 2013) Sonnet today introduced the xMac™ mini Server 2H, a second model of the company's xMac mini Server Thunderbolt-to-PCI Express® (PCIe®) expansion system and 1U rackmount enclosure for a Mac® mini with a Thunderbolt™ port. The new xMac mini Server 2H enables the use of two half-length, full-height PCIe cards, allowing users to select from and install the majority of Thunderbolt-compatible cards into either slot. The original xMac mini Server accommodates one full-length, full-height PCIe card and one half-length, half-height (low-profile) card.

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Pomfort releases major upgrade to its professional onset data-management software Silverstack

Pomfort releases major upgrade to its professional onset data-management software Silverstack:
Pomfort today announces the immediate availability of the new Silverstack. The powerful new version 3.0 of Silverstack now supports high-speed and checksum-verified copy processes to multiple destinations for all kind of camera and file formats. Furthermore it comes with a revised user interface and provides customizable copy reports. (Munich, Germany--March 27, 2013) Pomfort, a global provider of professional solutions for data and color management on the film set, today releases the latest major upgrade to its flagship software product Silverstack.

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The Difference Between Raw Video and Uncompressed Video

The Difference Between Raw Video and Uncompressed Video | Videomaker.com:
So what's the difference? Raw video is uncompressed, right? Well, it is, and raw video is always uncompressed. However, uncompressed video isn't always raw.

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Creating a look in DaVinci Resolve – Part 2

Creating a look in DaVinci Resolve – Part 2:
Colorist Jesse Borkowski is back with a second series of node by node tutorials on how to create a music video look in DaVinci Resolve involving qualifiers, simple compositing techniques and more. Jesse walks through creating his look and explains the techniques he uses in plenty of detail.  To check out the first series of 4 video tutorials check out this previous post.

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Wednesday, March 27, 2013

Exploring the World of Color Theory with a 3D Modeling Program

Exploring the World of Color Theory with a 3D Modeling Program:
Exploring the World of Color Theory with a 3D Modeling Program ColorCube wheelFrom time to time I post plots of color gamuts like the one above. Each time, I get emails asking how I make them, leading me to assume that the world’s thirst for color nerdiness is going unquenched. I’m setting out to fix that in this post.




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Wednesday, March 20, 2013

Hacking NVidia Cards into their Professional Counterparts

Hacking NVidia Cards into their Professional Counterparts - Page 1:
Firstly I will give a bit of history for those that are unaware. NVidia's has for a long time had two ranges of cards, the GeForce for the gaming market, and Quadro for the professional market, and more recently the Tesla range for high end parallel computing stuff. As I am sure most of you would be aware, it is cheaper to manufacture a single chip and cripple it in some way for different product lines then it is to make different silicon for every product.

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5 Ways the Camera Department Can Help Avoid “Fix It In Post” Headaches

5 Ways the Camera Department Can Help Avoid “Fix It In Post” Headaches:
5 Ways the Camera Department Can Help Avoid “Fix It In Post” HeadachesHave you looked around on a film set lately?
You might notice that production and post-production are beginning to merge.
Walter Murch, the “Yoda of editing,” often talks about how he doesn’t think editors belong on set. He thinks they need to come to the footage fresh with untainted eyes — knowing in your mind, for instance, that a shot took a whole day to film might bias you into using it.

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NVIDIA GRID VCA Delivers Remote GPU Acceleration

NVIDIA GRID VCA Delivers Remote GPU Acceleration:
Nvidia-grid-vcaNVIDIA’s new visual computing appliance GRID VCA enables facilities
to deliver faster GPU performance to Windows, Linux or Mac clients
on their networks.


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Professional Transcoding with Consistent Color

Professional Transcoding with Consistent Color:
5DtoRGB is an awesome tool that extracts every last drop of video quality from cameras that record to the AVC/H.264 video format. Cameras like the Canon EOS series of HDSLRs record video in this format with subsampled color.

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Digital Intermediate Conforming with EDLs and DPX

AREA | Digital Intermediate Conforming with EDLs and DPX:
It doesn't matter whether the original material came from traditional film celluloids or digital acquisition formats like RED or ARRIRAW.  The mediums are converted into DPX to make it a much more workable format in all genres of post production.  Feature films, television series, commercials and so on.

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Tuesday, March 19, 2013

aescripts + aeplugins

aescripts + aeplugins:
aescripts_aeplugins_Logo_WETaescripts + aeplugins is a repository and marketplace of high-end scripts and plugins. Augment your reality and improve your workflow.


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5 Free Apps Film & Video Editors Shouldn’t Live Without

5 Free Apps Film & Video Editors Shouldn’t Live Without:
Check out 5 FREE apps that you'll want to have in your film and video editing toolkit. These utility applications can save you in a pinch and speed up your post production workflow.

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Maxon Announces Strategic Alliance with Adobe to Bring Creative Professionals New Levels of Digital Media Content Creation

Maxon Announces Strategic Alliance with Adobe to Bring Creative Professionals New Levels of Digital Media Content Creation | Studio Daily:
Maxon, the developer of Cinema 4D, a leading 3D animation software for film, broadcast and motion graphics professionals, today announced it has entered into a strategic alliance with Adobe Systems Incorporated to further collaborate on technology that provides creatives in the motion graphics and visual effects industry with new levels of digital media content creation. As part of the alliance, both companies are expected to collaborate and engineer a pipeline between Adobe After Effects software and Cinema 4D to give users a seamless 2D/3D foundation.

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Monday, March 18, 2013

Avid: Automatically converting OP-Atom MXF to ProRes MOV

Avid: Automatically converting OP-Atom MXF to ProRes MOV:
Over the last few days I tried to automatically convert Avid OP-Atom MXF files to ProRes 422 HQ MOV files. At first this didn’t sound too hard but it took me several days to come up with an good solution.

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MPEG-DASH open source tools and cloud services

MPEG-DASH open source tools and cloud services:
Our presentation from the media web symposium 2013 in Berlin on the open source landscape around MPEG-DASH as well as on cloud-based services for MPEG-DASH

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The ARRI Alexa RED EPIC Sony F55 Sensor Test

The ARRI Alexa RED EPIC Sony F55 Sensor Test: : Cinescopophilia:
What does an ARRI Alexa, RED Epic, and a Sony F55 camera have in common? Sensors… And Allstar the gear makers who gave us the A-Mount System and the tripod / shoulder base rig for cine compact cameras have bundled together the ARRI Alexa, RED EPIC, and Sony F55 cameras for a little sensor test.

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This may be the most important stuff you can know about digital video

This may be the most important stuff you can know about digital video:
This is a topic that nothing else makes much sense without. If you don't understand this stuff, you're likely to make mistakes all the time with video - especiallly now that we're into an era of complex raw workflows and grading. Luckly, you're in safe hands. Phil Rhodes is an expert: he's not just a cinematographer but an engineer as well.

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    Review: HP Z1 Workstation

    Definition Magazine - Def Mag - Review: HP Z1 Workstation:
    Unless you’re using ‘Smoke For Mac’ is there any reason to keep loyal to the Californian badge anymore? HP reckon there isn’t and are aiming their mid-level workstation, the Z1, directly at the old Mac Pro market. We review a post production specced model and find an ingeniously designed all-in-one package.

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    Sunday, March 17, 2013

    Understanding Lift, Gamma and Gain

    Understanding Lift, Gamma and Gain:
    In this installment of our weekly tutorials, I aim to explain the concepts of three basic controls in the Power Window filter, namely Lift, Gamma and Gain. It’s a bit longer than usual, and more theoretical, but I hope it serves well as an introduction to this topic:

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    Final Cut Pro X versus Premiere Pro CS6

    Final Cut Pro X versus Premiere Pro CS6 « digitalfilms:
    The struggle within most shops that invested in Apple’s Final Cut Pro is whether to stay put a while longer, adopt Final Cut Pro X or cut the cord and move on. For many this means shifting to the Adobe Production Premium bundle – part of Creative Suite. Most of the editors and facilities in my sphere are doing just that. I’m one of only two local editors that I know actually using FCP X professionally. The rest are in the process of shifting to Premiere Pro, while maintaining some continued use of FCP “legacy”. This post is not intended as a “shoot out” or to say one is better than the other. Both are good tools and much of the choice gets down to personal preference. Instead, my goal is to lay out some random considerations in making the move.

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    Wednesday, March 13, 2013

    A Colour Grading Round Up For Virgin & Veteran Colourists

    A Colour Grading Round Up For Virgin & Veteran Colourists:
    Here’s a quick round up of some of the latest free tutorials, tips and training on the craft of colour grading that should help both those who are new to the craft and those who have been around it for years.

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    NLE Version 7.0

    NLE Version 7.0 | Edit Geek:
    With NAB less than a month away it seems a certainty that we’ll see new versions of the two main NLE platforms vying for the attention of broadcast and professional editors. And they both reach version 7.0 – we’ll see Avid Media Composer (and Symphony) 7.0 and Adobe Premiere CS7 – what are we hoping for?

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    Sunday, March 10, 2013

    Some tips on making DCP trailers

    Some tips on making DCP trailers:
    Trailer DCPs should be delivered in two resolutions: 1998×1080 (Flat) and 2048×858 (Scope). This way the cinema can play the trailer before both Scope and Flat movies without changing presets on the projector. With common height cinemas a preset change involves zooming the lens and changing the side masking.

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    Saturday, March 9, 2013

    Upgrade your iMac to an editing monster - what can improve the performance?

    Upgrade your iMac to an editing monster - what can improve the performance?:
    If you edit videos and movies you are probably well-aware that the performance of your computer, Mac or PC, can vastly affect your the effectiveness of your work. If you use many filters and effects, the computing power required to render them can be huge. Heath McKnight shared some of his thoughts as recently he moved up to an iMac from his Mac mini for Final Cut Pro X editing. Of course everything depends on your available budget but what counts is to get the best hardware possible for the money you want to spend. If your budget is tight and you want to save a few bucks, you might for instance get a refubrished iMac.

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    Friday, March 8, 2013

    How to understand Dynamic Range

    How to understand Dynamic Range:
    Camera performance is now measured as much in terms of Dynamic Range as Resolution. Phil Rhodes explains this essential aspect of camera technology

    CatDV

    CatDV:


    CatDV logo_WETCatDV by UK-based Square Box Systems, has become the darling of the asset management crowd. Why? Because when it comes to managing, accessing and protecting your media there’s nothing out there like it.
    And the newly released ver 10 takes managing media to a whole new level. Highlights include:

    Live streaming over HTTP of video and subtitles (cont’d)

    Live streaming over HTTP of video and subtitles (cont’d) | Cyril @ Telecom ParisTech:
    Here are the slides describing the demo I gave during the ACM MMSys 2013 conference, in Oslo, February 2013. It is an update of the demo I gave during the MPEG meeting in Shanghai, October 2012. Source code should be published soon in GPAC and if I can, I’ll set up a running live server (or, if not possible, I’ll put a video of the demo). Stay tuned.

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    Over 4 hours of real-world training for Media Composer

    Over 4 hours of real-world training for Media Composer:
    Rule Boston Camera’s Learning Lab Series is always superb and I’ve shared to some of their excellent videos before (like this post on 2 Hours with a Colorist). As I’ve continued on my Avid Media Composer journey lectures like these have been invaluable for an eye-opening look at how editors are working with Media Composer in the real world.

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    NVIDIA Unveils New Quadro Kepler Line


    ImageNVIDIA Unveils New Quadro Kepler Line | AWN | Animation World Network:
    SANTA CLARA, CA -- NVIDIA has unveiled a range of NVIDIA Quadro professional graphics products that offer unprecedented workstation performance and capabilities for professionals in manufacturing, engineering, medical, architectural, and media and entertainment companies.


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    Avid — Has the Ship Sailed (or Even Sunk)?

    Avid — Has the Ship Sailed (or Even Sunk)?:
    Mark my words… Avid will make a desperate announcement at this year's NAB (if not sooner). Their 'we're focussing on the pro market' strategy is too little and too late. The pros they want to keep are moving on in records numbers (let alone dwindling).

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    Monday, March 4, 2013

    Zero Budget Software Suite For Filmmakers

    Zero Budget Software Suite For Filmmakers | Raindance Film Festival:
    Money is, by definition, always a difficult issue for the low budget filmmaker.  The challenge is in getting as much of your meagre budget up on the screen as possible.  With that being the case do you really have the money to throw around on overpriced software packages?

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    Saturday, March 2, 2013

    RED Workflow - copy/backup and one light color pass in REDCINE-X Pro!

    RED Workflow - copy/backup and one light color pass in REDCINE-X Pro!:
    Rogue Cine released their first tutorials on working with RED's cameras. The first tutorial is quite basic and focuses on 2 ways allowing you to copy and back up your R3D media. Useful if you want to be 100% sure that you will not lose your data after this process. The tutorial showcases the R3D Data Manager app that you can find here. The second video is even more interesting as it covers how to perform a quick one light color pass in RedCine and export the files to ProRes for use in most NLE’s such as Final Cut Pro, Adobe Premiere or Avid Media Composer. If you use Media Composer, the author suggests to make DNxHD files since ProRes is wrapped as MXF files. Even more Rogue Cine's tutorials are coming in the future, so stay tuned!   Source: http://www.premiumbeat.com

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    Thursday, February 28, 2013

    Arri Alexa, RED Epic and Blackmagic Cinema Camera compared - video tests!

    Arri Alexa, RED Epic and Blackmagic Cinema Camera compared - video tests! - motionVFX Blog:
    "Some Like It RAW" is a mini-series of test videos, that tries to compare three great video cameras - the Arri Alexa, Blackmagic Cinema Camera, and the Red Epic. The goal of these tests was to explore how each camera handles real world shooting environments. All tests were performed by Ryan E. Walters, who is an award-winning cinematographer who did feature films, documentaries, commercials, and shooting for Comcast, TLC, Oxygen, and the Discovery Channel.His first video test was published a week ago and it focused on the IR filtration using Schneider ND's along with the Schneider IR Tuner Kit. The second video examines and compares how each of the three cameras performs in low light. Let's start with the newest test:

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    Ingest Options in Adobe Prelude

    Ingest Options in Adobe Prelude:
    Learn how to ingest your video footage into Adobe Prelude. Prelude provides multiple encoding options to do instant backups and streamline your video editing workflow.

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    Tip: How to Save Your Work When After Effects Freezes

    Tip: How to Save Your Work When After Effects Freezes:
    OK– so you’ve been working on your 99 layered After Effects project for an hour now and suddenly…that $%^& beachball pops up!  Your After Effects project has frozen in its tracks!  And you’ve forgotten to save all that hard work…
    What to do?

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    Avid DNxHD vs. Apple ProRes vs. GoPro Cineform: Recompression Generation Loss

    Avid DNxHD vs. Apple ProRes vs. GoPro Cineform: Recompression Generation Loss:
    If you have a properly tuned post production workflow then the amount of times you’ll recompress an intermediate video is zero or once; the most common case is recompressing assets like intros, bumpers, motion graphics, and others once they make their way into a final program.

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    Learn everything about the H.264 encoder - parameters, best tools and more!

    Learn everything about the H.264 encoder - parameters, best tools and more!:
    The H.264 is now probably the most popular video compression standard for online video publishing and if you post your works to Vimeo, you probably encode them in H.264. After editing and grading your footage you want to publish your video with the best quality possible, but there's always an important enemy - compression. So, how to take profit of the great possibilities of H.264 if you don't want to wait for the H.265 standard?

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    Make it Beautiful: The Workflow of a Professional Film and Video Colorist

    Make it Beautiful: The Workflow of a Professional Film and Video Colorist - Power To Create TV:
    Our recent guest Robbie Carman of Amigo Media shared a lot  of insight into the world of professional film and video.  He also wanted to give you an idea of what his work environment looks like.“Well I like gear!  In reality my gear is separated into several categories,” said Carman.  “A decade ago, the color correction systems that were in use were between half a million to a million dollars.”

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    Archiving Video With HP's New LTO-6 Ultrium 6250 Tape Drive : Archiving and Back-Up

    Archiving Video With HP's New LTO-6 Ultrium 6250 Tape Drive : Archiving and Back-Up:
    I've been using LTO since 2009, when I started shooting on P2 cards and wanted a bullet-proof way to save client footage. At the time, the LTO format was in its 4th iteration (LTO-4), which was categorized by tapes that could store about 800GB of raw data, and read/write up to 120MB/s. Since '09, there's been an LTO-5 iteration (1.6 TB capacity with 140MB/s data rate), and now, just in the last couple of months, HP has released the industry's first desktop LTO-6 drive, the StoreEver Ultrium 6250. The 6250 can store 2.5 TB of raw data per tape, hit data rates of 160MB/s, with tape longevity up to 30 years.

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    Friday, February 22, 2013

    AE: Inverse Kinematic Character Animation : Adobe After Effects Tutorial

    AE: Inverse Kinematic Character Animation : Adobe After Effects Tutorial:
    Standard character animation in After Effects uses a process called 'Forward Kinematics' in that we animate down a linked chain - for example, upper arm linked to forearm linked to hand. To get animation we need to move the items down the chain one at a time. Inverse Kinematics creates a link back up the chain such that moving the hand would also move the forearm and the upper arm without breaking that link. This is a simpler and easier to control form of animation often used in 3D programs such as C4D and 3ds max etc. and allows us to control the animation for the complete chain through a single controller.

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    Newton 2 Is An Incredible Physics Engine for After Effects

    Newton 2 Is An Incredible Physics Engine for After Effects | Premiumbeat.com:
    Motion Boutique has released Newton 2, a physics engine for creating realistic motion and animations in After Effects.

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    מהפכני הפלאגאין הזה. Newton בשילוב עם Element3D יכול לחסוך הון בעבודה בתוכנת תלת מימד.
    מדהים!

    RED Epic versus Blackmagic Cinema Camera - workflow, footage quality and more!

    RED Epic versus Blackmagic Cinema Camera - workflow, footage quality and more!: Andrew Reid posted a great comparison of the Blacmagic Cinema Camera and the RED Epic. A really interesting and informative material especially that many filmmakers wonder how the BMCC compares to a film industry standard. The RED Epic is obviously great, but isn't cheap, it also shoots 5K. Nevertheless the Blackmagic Cinema Camera is also pretty great. Andrew did many tests and he found out, that the BMCC can perform amazingly good - he found the low light performance astounding for such a small sensor.

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    Super-Easy EDL Workflow in SpeedGrade

    Super-Easy EDL Workflow in SpeedGrade:
    We’ve written about how to get content into SpeedGrade, and have described the EDL Conform process in previous posts, but SpeedGrade has one more EDL trick up its sleeve that I think many of you will love. This one is about as easy as it gets.

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    Make it Beautiful: The Workflow of a Professional Film and Video Colorist

    Make it Beautiful: The Workflow of a Professional Film and Video Colorist - Power To Create TV:
    Our recent guest Robbie Carman of Amigo Media shared a lot of insight into the world of professional film and video. He also wanted to give you an idea of what his work environment looks like.“Well I like gear! In reality my gear is separated into several categories,” said Carman. “A decade ago, the color correction systems that were in use were between half a million to a million dollars.”

    Tuesday, February 19, 2013

    Media Composer 6.5.2 ‒ Consolidate QuickTime ProRes

    Media Composer 6.5.2 ‒ Consolidate QuickTime ProRes - Media Composer Family:
    QuickTime ProRes can now be consolidated like any other native codec, and has an increased playback performance of up to 4 streams in real-time at full quality. If your workflows involve AMA linking to ProRes media you can now consolidate them into an MXF wrapped file for quickly checking into Interplay or to become Avid native managed media. With the performance fixes, the consolidation process is very quick, as if you were copying the media. Also whether you are AMA linking or having native ProRes media, the playback performance has also been fixed to get up to 4 streams of playback depending on your storage performance.

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    How To: Do ArriRAW Properly Part One

    How To: Do ArriRAW Properly Part One: Skyfall used ArriRAW to set it’s look.After the release of Gambit last November, written by the Coen brothers and directed by Michael Hoffman, 4K London look at the ArriRAW workflow they used and how to gain the best results from this film-esque digital format.  In Part Two 4K London look more at the Post route of ArriRAW.

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    CacheIO, Quantum, MTI Film Team to Demonstrate 4K Streaming at HPA Technology Retreat

    CacheIO, Quantum, MTI Film Team to Demonstrate 4K Streaming at HPA Technology Retreat:
    CacheIO, the Flash storage technology company, has teamed with Quantum, provider of StorNext shared file system software, and MTI Film, a Hollywood-based postproduction services provider and software developer. This alliance will demonstrate its joint system for uncompressed 4K streaming at the Hollywood Post Alliance Technology Retreat taking place Monday through Friday. The HPA demo will highlight the capabilities of MTI Film’s new dailies workflow, Cortex::Control Dailies.

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    Diary of an Avid Switcher - Part 1 - Humble Beginnings

    Diary of an Avid Switcher - Part 1 - Humble Beginnings | Jonny Elwyn - Film Editor:
    I bought Avid over Christmas, making the most of Videoguys crossgrade deal, and finally installed Avid Media Composer 6.5.2 in the new year. The download and install process from the Avid site was very easy. I had scoured the net to see if anyone else had installed AMC 6.5 on Snow Leopard (10.6.8) and so far I’ve not had any problems, so that’s my first tip.

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    Monday, February 18, 2013

    Canon Cinema RAW Development Software

    Canon Cinema RAW Development Software | CineTechnica:
    Canon has released their very easy to use Cinema RAW Development software for Mac OS Lion and Mountain Lion, which allows you to ingest, play, and export Canon RAW files. The user interface is very intuitive; just click on a clip and it immediately shows up in the Preview window. You can play it straight, scrub, go through it frame by frame, and set in and out points. The Preview window also includes some basic look controls, such as viewing gammas, sharpness, white balance, and brightness controls. There is also the ability to view frame and clip information. You can also use the software to play your footage out to an external monitor using an expansion card with SDI output.

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    Saturday, February 16, 2013

    Pitch Perfect takes advantage of P3 Colorspace

    Pitch Perfect takes advantage of P3 Colorspace:
    Targeting the DCI-P3 color spec, which is the native colorspace for digital cinema projection, allows for a much wider contrast and color gamut than a traditional film-targeted workflow, and we took full advantage of that for this film.  The highlights of the film take place on a colorful stage with moving lights and flashy performances.  With all the saturated blues and reds, film prints can’t always handle that kind of rich color detail.

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    Thursday, February 14, 2013

    An introduction to LTFS for digital media

    An introduction to LTFS for digital media | Archive Management content from Broadcast Engineering:
    LTO tape is already firmly established in the media production environment. For production, LTFS efficiently supports several important requirements such as camera media resuse, backup, transport, direct access to data and archiving.

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    Friday, February 8, 2013

    Digital Cinematography vs Film: Tides are Turning

    Digital Cinematography vs Film: Tides are Turning:
    As I embark on a long creative, exciting journey on Need for Speed with DreamWorks, I wanted to share some of my most recent findings from a five day camera test that pushed every camera to its breaking point. Our final choice was a three camera collaborative for the look and feel of this film.

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    Log vs. Raw: The Simple Version by Art Adams

    Log vs. Raw: The Simple Version by Art Adams:
    Raw is all the rage, but should it be? Log gives us 99% of the benefit of a raw file in a grade but with much smaller files.

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    Avid Whitepaper: Digital Cinema Camera Workflows

    Videoguys Blog - Avid Whitepaper: Digital Cinema Camera Workflows:
    With the ability to track multiple sources and timecodes, combined with AMA and open standards such as MXF, AAF, and DNxHD, Media Composer and Symphony give you the most flexibility in the post-production pipeline. Finishing and mastering can all be done directly within Avid products, or easily transported to third-party systems—or a hybrid between the two. The editorial process may seem complicated at first when dealing with high-resolution formats, but careful planning heads off any of the issues that may arise. Consult with all parties involved in both the production and post-production process for picture and sound to ensure that everyone is on the same page before the cameras roll or, in the file-based world, before the production capture process begins.

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    Log Gamma Vs. Linear Gamma: A Primer

    Log Gamma Vs. Linear Gamma: A Primer:
    Log_vs._lin_lin_624_440 With the Sony F5 and F55 coming down the pipeline, cinematographer Art Adams, on behalf of Pro Video Coalition, decided to revisit the differences between log gamma and linear gamma in a simple and informative way.
    While Sony’s cameras may use S-Log and S-Log2, you’ll run into log encoding in other formats like DPX/Cineon. It’s important to get a grip on why log encoding out of the camera is useful and why we need viewing LUTs for the footage to look normal on a Rec. 709 monitor.


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    A Guide to Common Video Formats: Containers, Compression, and Codecs

    A Guide to Common Video Formats: Containers, Compression, and Codecs:
    MOV, H.264, AVCHD, MP4, AVI, the list goes on and on with so many letters of the alphabet. What video format should I use? What codec do I need? These questions come up all the time online and in conversation. This guide will demystify some of the most common formats and codecs used in the film industry while ignoring the formats that are uncommon, academic curiosities, or telecom based.

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    Tuesday, February 5, 2013

    Adobe SpeedGrade CS6 – Can Color Grading Go Mainstream?

    Adobe SpeedGrade CS6 – Can Color Grading Go Mainstream? » NYC Production & Post News:
    For years the Production Premium version of Creative Suite gave you what you needed to author a complete video production. While it didn’t offer a specialized tool that could craft color with as much finesse as Photoshop, many were happy with what Premiere Pro offered in terms of basic color correction. As Adobe pointed out in their tutorials, to finish your Premiere project you could get pretty respectable results simply using that app’s Fast Color Corrector and RGB Curves.

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    Saving Autosaves Into Individually Compressed Archives

    Saving Autosaves Into Individually Compressed Archives:
    It's not too hard to just right click on the whole Autosave Vault folder and compress it into a .zip archive. On my drive here my Autosave Vault folder is about 4GBs, compressed though it's 291MBs. That's a huge amount of space saved. But it's also messy if you want to just get at one particular project's autosave (.fcp) folder.

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    Over 6 Hours of Free Colour Grading & VFX Training

    Over 6 Hours of Free Colour Grading & VFX Training:
    If you want over 6 hours of free training on professional color grading and compositing techniques and generally how to make the most Assimilate Scratch’s finishing capabilities then these tutorials from Mike Burton and cmiVFX will do just the trick.

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    Monday, February 4, 2013

    How To Share Projects Between Multiple Smoke Systems

    How To Share Projects Between Multiple Smoke Systems | Premiumbeat.com:
    There is a concept in the 2013 releases of Smoke and the 2013 Extension 2 release of Flame Premium of WORKSPACES. Workspaces allows 2 or more different Smoke or Flame systems to access and work on the same project at the same time, using the same clips.  In the Project hierarchy, a Workspace will fall in-between the Project and the Media Library.  Each Smoke or Flame system connected to the same project at the same time, will create it’s own workspace.

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    DaVinci Resolve Workflows

    DaVinci Resolve Workflows:
    Blackmagic Design’s purchase of DaVinci Systems put a world class color grading solution into the hands of every video professional. With Resolve 9, DaVinci sports a better user interface that makes it easy to run, regardless of whether you are an editor, colorist or DIT working on set. 

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    Friday, February 1, 2013

    How to create .tar files for all folders under a directory

    How to create .tar files for all folders under a directory:
    I have hundreds of project directories under one folder. Now I want to create .tar files for these projects. Is is fairly easy to tar multiple directories to one .tar file:
    tar cvf /myStorage/allProjects.tar project1 project2 project3 project4
    But I needed one .tar file per project. To keep .tar files seperate. So I needed to have:
    /myStorage/project1.tar
    /myStorage/project2.tar
    /myStorage/project3.tar
    /myStorage/project4.tar
    To accomplish this, I needed to write a bash script:

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    The New Low-Bandwidth HEVC/H.265 Video Coding Standard

    The New Low-Bandwidth HEVC/H.265 Video Coding Standard:

    http://cdn.ultrahdtv.net/wp-content/uploads/2013/01/hevc-approved.pngNew Technology Is Said to Require Half the Bit Rate of H.264 at Same Quality Levels

    The ITU has approved the new High Efficiency Video Coding standard (HEVC) for high-quality, low-bandwidth video. The new standard, also known as H.265, will require about half the bit rate of its predecessor, H.264/AVC, the ITU said.

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    Case Study: After Effects Rigging with a Segmented Puppet

    Case Study: After Effects Rigging with a Segmented Puppet | Premiumbeat.com:
    Interested in creating animations in After Effects?  This video tutorial shows you a real-world case study of a complex character rig in AE.  Learn how to modify elements and create realistic motion.

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