Scott Simmons – ProVideo Coalition https://www.provideocoalition.com A Moviola Company Wed, 24 May 2017 20:15:59 +0000 en-US hourly 1 https://wordpress.org/?v=4.7.5 https://cdn.provideocoalition.com/app/uploads/cropped-Moviola-Favicon-2016-32x32.png Scott Simmons – ProVideo Coalition https://www.provideocoalition.com 32 32 Useful tools for editors: Go Predators edition https://www.provideocoalition.com/useful-tools-editors-go-predators-edition/ https://www.provideocoalition.com/useful-tools-editors-go-predators-edition/#respond Wed, 17 May 2017 14:00:10 +0000 https://www.provideocoalition.com/?p=52889 It’s been awhile since we’ve visited the Useful Tools for Editors series so in honor of our Nashville Predators making it to the NHL Western Conference Stanley Cup Finals here’s a new batch of software, hardware, books, tweets and tips for editors everywhere. Go Preds! Art of the Cut book Most people reading this column have

The post Useful tools for editors: Go Predators edition appeared first on ProVideo Coalition.

]]>

It’s been awhile since we’ve visited the Useful Tools for Editors series so in honor of our Nashville Predators making it to the NHL Western Conference Stanley Cup Finals here’s a new batch of software, hardware, books, tweets and tips for editors everywhere. Go Preds!

Art of the Cut book

Most people reading this column have probably been following Steve Hullfish’s long running ART OF THE CUT series here on PVC. It is by far the most expansive and in-depth interview series with the biggest names working in editorial in Hollywood today. While Steve’s series has published on PVC for quite some time you may not know that he recently published a printed, paperback version of Art of the Cut:Conversations with Film and TV Editors. 

I’m sure the first question asked is: Why would I every buy a dead tree version of this book when I can read them all online for free? For me there is still the pleasure of curling up with a good book and as an editor I learn something every time I read something like Art of the Cut. After a long day of editing I just don’t like to stare at more screens, even a Kindle (though a Kindle isn’t as bad as an iPad.) But the best thing about the book is that the interviews are organized by topic and not just by interview subject. I think this approach takes the linear approach to reading a book out the window as you can browse the table of contents and go to a section that is of interest. Since Steve is an editor first and foremost he does a great job interviewing his subjects and has worked very hard on the curation of hundreds of hours or interviews. Amazon is currently listing the book at $36.26 so click on over and get your own copy.

I really love how the printed version of @stevehullfish ART OF THE CUT book divides the interviews by topic.

A post shared by Scott Simmons (@editblog) on

Avid App Manager Closer

God bless Avid and their attempts at making Media Composer easier to install and work with but one downside of a modern Avid install is that both the background services and the Avid Application Manager seem to run all the time. While you can just quit the background processes the App Manager continues with a helper process that runs even after quitting (this is on a Mac, I’m unsure how this works on a PC). Yes you can force quit via the Activity Monitor or you can download the AvidAppManagerCloser thingy that will do it for you.

This little Automator script comes courtesy of the must-read Avid related blog 24p. Click on over there, give it a read and download it if you need it.

Editing Folders generator freebie

Many of us know and love and use Post Haste from Digital Rebellion to get us setup with a defined folder structure when we go to work on a new editing job. But editor Adam Schoales wanted to customize things a bit more and he created a Mac Automator workflow called Editing Folders that does just that and is available as a free download. It only asks you to name when you launch it and then creates a series of folders where you specify.

This is a pretty good set of folders to cover many different edit jobs.

If you want to customize the folders you can open the Editing Folders script in Automator and dig into the shell script a little bit and change those folder names and maybe even add a few more. I didn’t do this but since you can see those folder names in the script I’m guessing it should be easy. But since there’s not support  with this freebie you’re on your own.

Some free custom folder icons

If you just want some new, free custom folder icons then head over to Sam Woodhall’s blog and download his 2017 Post Production Icons. Pretty simple in concept but there is a lot of different categories in the sets Sam has created. The clean, modern design is just nice to look at as well.

Each of those folders you see on the left all contain subfolders of varying types to future organize your projects. They are some specific folders icons for Final Cut Pro X and Adobe CC apps but there is enough in there that any media professional will be able to find some stuff to use.

Sam also includes some blank folder png files so I suppose you could take those and make some of your own. One could also dig through all the folders and remove what you don’t want and create a template set that could be duplicated for each new project. I guess that’s sort of like the Automator script above only you don’t run an Automator script. Thanks to Sam for putting these together and you can thank Sam as well (or leave him a donation for these things) on his blog.

 

 

 

 

 

Timing


As a freelancer I always keep an eye out for time tracking apps because freelancers track a lot of time. And as one who works in multiple NLEs tracking between the different applications and projects can become tedious. This app called Timing was recently brought to my attention and I can’t wait to try it. It looks to have a lot of different analytics to track many aspects of what you’re working on. Timing also says it will track documents so my first test will be to see if it can latch onto an NLE project or Library and actually track it per job and not just per NLE.

Timing has three difference cost tiers ranging from $29 – $79. It looks like the $49 option is the sweet spot with a lot of useful looking options at that price.

 FindrCat (Pro)

Intelligent Assistance introduced a new app last last year called FindrCat. It’s an interesting little Final Cut Pro X app with a cool idea that kind of reverses that you might think in that it takes your Keywords applied in FCPX and turns them into Finder tags in the Mac OS Finder. Those keywords then travel with the files as metadata meaning they are searchable outside of FCPX. Philip Hodgetts talks a bit more about FindrCat on his blog post after the software’s introduction.

FindrCat is $20 and available on the Mac App Store.

Rampant Design NLE Templates

We all know Rampant Design as a creator of great special effects and overlays but they’ve gotten into creating templates for both Adobe Premiere Pro CC and Final Cut Pro X. They create After Effects templates as well but I’m always more interested in cool templates that work directly in the NLE (sorry Avid Media Composer but none for you right now). The PPro templates include things like VHS glitch effects, various promo and lower third designs as well as a slideshow. FCPX templates include some of the same but a few less. And the price is right running at around $20.

Some of these types of things are over the top for most jobs but depending on your need templates like these can save a ton of time if you’re in a pinch or a ton of headaches if you’re not a particularity strong motion graphic designer. And since these are project files you can most likely monkey around with them and do a good bit of customization to fit your need.

FX Factory

It’s always worth catching up with that’s new from FX Factory since the last edition of Useful Tools. There’s a few things I wanted to point out:

Yanobox Mosaic

I’m always by what Yanobox is doing. Their Nodes tools just blows my mind and now they’re released Mosaic for FCPX, Motion, Premiere Pro and After Effects. I can’t explain it so here’s YAnobox’s description: “Mosaic lets you create a wide range of effects based on real time pixel texturing and adaptive tiling. Mosaic includes several procedural recipes but the most exciting use comes with the import of your own motifs to create amazing graphic effects.”

Or better yet watch the video:

Kevin P. McAuliffe wrote up a little review here on PVC so check that out as well.

VideoDenoise and Echo & Noise Remover from CrumplePop.

A new entry into the noise removal category is VideoDenoise. This $99 option is optimized for OpenCL and CUDA which is a good thing as denoising is not for the small computer.

On the audio side both EchoRemover and AudioDenoise have added some new hosts including Logic Pro, GarangeBand, Davinci Resolve and Adobe Audition. I expect we’ll see more and more plug-ins supporting Resolve in the future. All of these CrumplePop tools are $99 and part of the FX Factory ecosystem. Update your FX Factory install and you can get a free demo of most all FX Factory tools as well as purchase the ones you need.

Red Giant Universe

Red Giant’s subscription effects service Universe has gotten an update to version 2.1. And with version 2.1 we get six new effects:

  • AV Club: Mimic the lo-fi, noisy text found on ancient video tapes, old infomercials and local access cable channel shows.
  • Luster: The 1980s are back! Give video text the retro treatment with Luster by applying a metal sheen to text – includes a refraction-based bevel for a glassy simulated 3D look.
  • Title Motion: Create text and shapes and then instantly add dynamic animations that bring them on and off screen. Great for titles, lower thirds, callouts and more.
  • Ecto: Inspired by the timeless film “Ghostbusters” and Netflix cult-hit “Stranger Things,” Ecto allows artists to create haunting, evolving titles with this glowing, fractal-based effect.
  • Long Shadow: Apply a colored, long shadow to text, logo or shape, for both classic and modern motion design.
  • Glow Fi II: Give text an ethereal moody look by instantly adding silky smooth, self-animating, fractal-based glow effects to titles. A simple UI make it easy to apply evolving, organic glows.

Universe is also a package that is supporting beyond the usual FCPX/Motion/Premiere Pro/AE as it also supports Magix Vegas Pro, Hitfilm and Davinci Resolve. Universe costs $99 / year or $20 / month.

Tools, Tips and Tweets from Twitter

 

The post Useful tools for editors: Go Predators edition appeared first on ProVideo Coalition.

]]>
https://www.provideocoalition.com/useful-tools-editors-go-predators-edition/feed/ 0
We don’t often think about exhibition … until it goes wrong https://www.provideocoalition.com/dont-often-think-exhibition-goes-wrong/ https://www.provideocoalition.com/dont-often-think-exhibition-goes-wrong/#comments Sat, 13 May 2017 13:08:12 +0000 https://www.provideocoalition.com/?p=52829 One item of filmmaking and media production that people don’t often talk about a lot is the exhibition of the projects many of us work so hard to produce. I experienced a case really bad exhibition recently when I went to attend a Fathom Event at local Regal Cinema. Theatrical presentation is that one place we

The post We don’t often think about exhibition … until it goes wrong appeared first on ProVideo Coalition.

]]>
One item of filmmaking and media production that people don’t often talk about a lot is the exhibition of the projects many of us work so hard to produce. I experienced a case really bad exhibition recently when I went to attend a Fathom Event at local Regal Cinema. Theatrical presentation is that one place we all strive for yet we have the least control when it comes to the presentation.

It’s an exciting opportunity to get to see ones work on the movie screen (especially when you don’t work in theatrical).

If you’re not familiar with Fathom Events they are “live event” type movie productions that are shown in theaters all around the country in a partnership amongst a number of theater chains. They show things like sporting events; operas are a common one you often see a preview for; there are special event movies and documentaries and a lot of concerts. I had the pleasure of editing a recent documentary on comedian Chonda Pierce which was shown as a Fathom event. There was a premier screening on April 25 as well as an encore presentation two weeks later. I was at NAB when the premiere happened so I was excited to get an encore on Tuesday May 9.

When talking about the exhibition one wants perfect screening conditions for the film that they have directed, edited, DPed etc. Hopefully that includes comfy seats, pleasant temperatures, optimal sound and good picture. It’s funny to talk about exhibition in this modern world because so much media is consumed on cell phones and touchscreen devices but I don’t think people think about the perfect viewing experience be it in a well-equipped home theater or an actual movie house. This particular screening began with no picture as in the screen was black and we could hear a rather muffled audio playing in the theater speaker. I knew when the promos were over and the movie began because I could hear the opening score but still no picture. I left the theater and asked first employee I saw to check the problem and restart the picture. She said that they would do just that. After a couple minutes the picture turned on but the sound was still terrible. After a several more minutes of not restarting the picture I went back out on the same poor soul that had to experienced my wrath to tell them that things were still screwed up.

After another 10 or 15 minutes of the movie playing I could see someone up in the projection booth attempting to do something and something did happen. The production stopped. There were several attempts to restart as the Fathom Events promo began playing over and over but it still sounded terrible. After about 20 minutes of this the theatre management came in and announced that they would be unable to show the production because one of the amplifiers in the theater had been blown. Apparently they had shown a Bollywood movie in this smaller theater at some point prior and “those loud Bollywood movies” were never meant to be shown in a theater that size. The Bollywood movie was so loud it “blew the amp.” Why no one monitored that is beyond me but I guess with 27 screens you just program everything in and let it go.

Back behind that glass I could see someone actually trying to fix the screening.

I immediately wondered how many other movies they had shown in the theater with the blown amplifier since it sounded like this other screening was at least the day before. A Fathom Event plays off a file so I had assumed it would be easy enough to move the showing to another screen since the Theater has 27 of them. But according to management, complications around the business side of Fathom Events means they’re unable to ever move a Fathom Event from one screening room to another. I made several attempts to reach out to both Fathom Events and Regal Cinemas by their Twitter accounts letting them know what had happened but I got no response at all. To the credit of the theater they did offer full refunds (which of course they should’ve done since the Fathom Event tickets are nearly $20) as well as offering vouchers for any other movie any other time including special events and RPX screenings. The people running the theater, and it has to be very thankless job, were very sorry about what had happened but their hands really seem to be tied as far as having another screening. They were unsure if they would be able to make up this particular screening at a later time.

At least we weren’t the only ones having problems with this Fathom Event.

The problem with the audio was a very muffled sound with the music bed actually being listenable but the dialogue was very muted. If you listened really close you could kind of understand the dialog and I was amazed by the number of people in the theatre that seemed to want to watch the production even with the bad sound. I think that speaks a lot to the subject matter and fans of the artist as opposed to people just willing to watch bad exhibition.

As the editor I wanted the best screening conditions possible. I often think about poor directors and cinematographers in the modern era who do their best to attempt to bring beautiful, cinematic images to the screen only to have them viewed in suboptimal conditions. I once chatted with a friend who hated the movie There Will Be Blood and I couldn’t understand why he hated it so much. Come to find out he watched the entire 2 hour and 38 minute movie on his phone on an airplane. There’re a lot of movies I can think about that is not properly viewed on your phone on an airplane and There Will Be Blood is right at the top of the list.

But back to the screening in the theater; box office numbers seem to be up over the last few years even if tickets sales are trending down but theaters owners and exhibitors are becoming increasingly frustrated with Hollywood. There continues to be a push to lower the theatrical window or to even have movies released in the home at the same time they’re released in the theaters … but for a higher price. The consumer wants this but the theater owner does not. You can do this today if you’re will to pay up.

To continue to have success at the box office theater owners and exhibitors need to continue to offer up a premium experience to those of us willing to pay + or – $20 per person to go to the theater. A number of “innovations” have come along in recent years that helps with that: a premium viewing experience, dinner and booze, reserved seating and kicking out cell phone users are a good start. I think that most of us that go to the theater would be fine with phones being allowed as long as the movies are identified as such and we can avoid them at all costs. But beyond the viewing experience among those kinds of movie distractions it’s the filmmaker who cringes most at the idea of a jungle gym inside the theatre or talking when everyone else is trying to watch the movie.

There were a lot of $20 refunds and Regal passes given out after the screening. The theatre also let anyone at the Fathom event go see another movie that night and get free refills on their concessions. At least the inconvenienced crowd didn’t seem too upset at the inconvenience.

Back to the actual projection of the image to the screen. That is something the viewer can’t do anything about. We sit at the mercy of the theater management and some kind of almost-projectionist sitting in the booth manning a hard drive. Best we can do as theatrical consumers is complain loudly to the theatre when the exhibition goes wrong. Ask for refunds, call the theatre chain, hit them up on social media. And what the theatre chains can do is respond and reply and let the consumer know they are doing what they can do keep the customer returning to the movie house.

I tried to complain to Fathom via their Customer Experience Survey Monkey form that was advertised on-screen before the event began, but that was a bust both on mobile at the screening and on the desktop afterwards.

You know Fathom if you’re going to provide an Other category you should probably at least provide a button for Other so we could continue the survey after choosing Other … I mean … Other was my answer!

Regal doesn’t even have a category on their Send Us an Email contact form for projection and screening issues.

I never heard a reply back from either Regal Cinemas or Fathom Events after tweeting to them about the bad screening experience. Others have had similar experiences and from the several Fathom Events I’ve been to over the years it’s the ones with problems that stick out in my mind. Both Regal Cinemas and Fathom Events could take a page from some of these companies about how to handle customer service on Twitter. I guess I should have tweeted to Regal Problems instead but somehow I don’t think that’s an actual Regal Twitter account. I guess I’ll send this little rant over to them via their contact forms.

The post We don’t often think about exhibition … until it goes wrong appeared first on ProVideo Coalition.

]]>
https://www.provideocoalition.com/dont-often-think-exhibition-goes-wrong/feed/ 4
Have a copy of my FREE updated DaVinci Resolve 14 keyboard cheat-sheet https://www.provideocoalition.com/copy-free-updated-davinci-resolve-14-keyboard-cheat-sheet/ https://www.provideocoalition.com/copy-free-updated-davinci-resolve-14-keyboard-cheat-sheet/#comments Tue, 02 May 2017 19:14:33 +0000 https://www.provideocoalition.com/?p=52181 Back in 2015 I posted a copy of my DaVinci Resolve editing keyboard cheat-sheet. This was a little document I had made as a quick way to see the different editing menu and submenu items as I was playing around with Resolve. The thinking was that learning the keyboard shortcuts was made just a little

The post Have a copy of my FREE updated DaVinci Resolve 14 keyboard cheat-sheet appeared first on ProVideo Coalition.

]]>
Back in 2015 I posted a copy of my DaVinci Resolve editing keyboard cheat-sheet. This was a little document I had made as a quick way to see the different editing menu and submenu items as I was playing around with Resolve. The thinking was that learning the keyboard shortcuts was made just a little bit easier without having to use a keyboard overlay or constantly looking under the menus. That is until you decide to remap them!

One thing Resolve 14 did add is a way to SEARCH for a command in the Keyboard Mapping editor so until we get a visual keyboard mapping tool this will have to do if you want to remap the keyboard.

NAB 2017 brought DaVinci Resolve 14 with a whole host of changes so it seemed high time to redo that Resolve keyboard cheat-sheet. There’s a lot to like in Resolve 14 and PVC has some great coverage of this big update with coverage from Brian Hallett as well as the Five Killer DaVinci Resolve 14 Features from Steve Hullfish. I’m just starting to play around with Resolve 14 so I’ll have something similar soon with my own humble opinion but in the meantime I’ll use my updated keyboard cheat-sheet to keep learning.

This Resolve 14 keyboard cheat-sheet has grown to two pages along with the ever expanding Resolve menus. As editing and audio tools have been added to Resolve the engineers have had to add more menus and submenus to accommodate all the added features. This cheat-sheet is mainly an editing focused cheat-sheet but I also added the Color and Nodes menus this time but I had to make them smaller to fit everything in two pages. Feel free to download, print and pass these along to anyone that might find them useful. A thank you on Twitter @editblog would be appreciated.

Click here to download or save as on this link for PAGE 01 of the Resolve 14 cheat-sheet. (File, Edit, Trim Timeline, Fairlight, Color and Nodes menus)


Click here to download or save as on this link for PAGE 02 of the Resolve 14 cheat-sheet. (Clip, Mark, View, Playback, Workspace and timeline right+click menus)


A little update to this post as we were discussing on Twitter that you can actually export a text file from the Keyboard Shortcuts preference pane in Resolve that has all your shortcuts listed.

This isn’t a bad thing as I’m sure there are legitimate uses for this text file. I hadn’t actually seen what this file looks like so I did just that and wasn’t too thrilled with the results as it’s not something that is easily and quickly readable as you’re trying to learn the app.

I’ll take the menu cheat-sheet but it’s nice to know the export option is there if it’s needed for some reason.

The post Have a copy of my FREE updated DaVinci Resolve 14 keyboard cheat-sheet appeared first on ProVideo Coalition.

]]>
https://www.provideocoalition.com/copy-free-updated-davinci-resolve-14-keyboard-cheat-sheet/feed/ 2
Scribeomatic and Chromatic coming for Final Cut Pro X https://www.provideocoalition.com/scribeomatic-chromatic-coming-final-cut-pro-x/ https://www.provideocoalition.com/scribeomatic-chromatic-coming-final-cut-pro-x/#comments Sun, 30 Apr 2017 13:27:09 +0000 https://www.provideocoalition.com/?p=51904 One bit of information worth mentioning that came out of NAB is a couple of upcoming products from CoreMelt. Roger Bolton of CoreMelt announced both of these new tools in separate presentations as the Lumaforge Faster Together stage. Like most FCPX products from CoreMelt these go beyond the Motion template level of simple animations and

The post Scribeomatic and Chromatic coming for Final Cut Pro X appeared first on ProVideo Coalition.

]]>
One bit of information worth mentioning that came out of NAB is a couple of upcoming products from CoreMelt. Roger Bolton of CoreMelt announced both of these new tools in separate presentations as the Lumaforge Faster Together stage. Like most FCPX products from CoreMelt these go beyond the Motion template level of simple animations and overlays and will add some deep functionality to Final Cut Pro X.

Scribeomatic

Not to be outdone by Digital Anarchy’s Transcriptive, CoreMelt’s Scribeomatic will add cloud-based transcription services right inside of FCPX. Roger has posted his presentation and answered a number of questions about this upcoming tool on his website but you can watch the video embed below.

I sat with Roger during a very loud party and got a demo of Scribeomatic and just as expected it looked very cool. The time to transcribe during the demo was just about real time for a 5 or 6 minute clip that Roger was using. There looked to be a number of ways to integrate the transcription but the one that really caught my attention was bring the transcription back into the timeline as markers (as you can see in the image below).

Scribeomatic appeared to insert the transcription as set intervals on the clip. While I’m not sure of those intervals (or if they can be changed) what you do get when the clip is in the timeline is the ability to view and search the content via the FCPX Timeline Index. This gives some Avid PhraseFind-like abilities to FCPX and could have many uses depending on the job. The big question everyone will be asking is price but that will be determined closer to release. Scribeomatic is just entering beta.

Chromatic

The other announcement from CoreMelt was for the upcoming color grading tool Chromatic. Roger answers a few questions about Chromatic in his blog post.

One question that might be asked is why do we need another FCPX color grading tool when we already have Color Finale? I think the short answer is choice and Chromatic will operate a bit differently (as different as a traditional color grading tool can operate) and add a few more tools to the mix. CoreMelt is one of the original FCPX third party developers as well and they will work hard to create a proper plug-in and not just a cheap Motion-template ripoff of an existing tool as we’ve seen from some other developers.

I really liked seeing the different curve grading options during the demo that I saw of Chromatic. And not just traditional RGB Curves but the vs. curves that Resolve users might be familiar with. In the above image you can see a Saturation vs Hue curve. These types of curves are one of the things I miss most when not working in Resolve as you can do some simple corrections very quickly. We also have to note that CoreMelt’s SliceX mocha-based masking and tracking will be part of Chromatic and that’s a big feature addition right there. Good masking and tracking controls are a must for serious color grading work so Chromatic will take grading to the next level in FCPX.

Keep an eye on CoreMelt’s website for more details on when the betas are in full swing as well as pricing and availability.

The post Scribeomatic and Chromatic coming for Final Cut Pro X appeared first on ProVideo Coalition.

]]>
https://www.provideocoalition.com/scribeomatic-chromatic-coming-final-cut-pro-x/feed/ 2
Transcriptive – A transcription panel coming to Adobe Premiere Pro CC https://www.provideocoalition.com/transcriptive-transcription-panel-coming-adobe-premiere-pro-cc/ https://www.provideocoalition.com/transcriptive-transcription-panel-coming-adobe-premiere-pro-cc/#comments Tue, 25 Apr 2017 00:33:33 +0000 https://www.provideocoalition.com/?p=51271 I only spent a few minutes walking the NAB show floor today but a trip by the plugin pavilion and I saw an old manual typewriter in the Digital Anarchy booth. A closer look reveled an upcoming extension panel for Adobe Premiere Pro CC called Transcriptive. This tool should go into beta soon and it looks

The post Transcriptive – A transcription panel coming to Adobe Premiere Pro CC appeared first on ProVideo Coalition.

]]>
I only spent a few minutes walking the NAB show floor today but a trip by the plugin pavilion and I saw an old manual typewriter in the Digital Anarchy booth. A closer look reveled an upcoming extension panel for Adobe Premiere Pro CC called Transcriptive. This tool should go into beta soon and it looks to add a nice little addition to the PPro toolset. It was a few versions ago that Adobe removed the old built-in transcription tool that wasn’t very accurate. Transcriptive will use cloud services (the user will get to choose which service to use with their varying costs) to do the transcription and the Transcriptive tool will be what integrates the transcription back into Premiere.

These modern cloud services are much more accurate than what Adobe had built into the old versions of Premiere. Digital Anarchy is claiming 96% accuracy with good quality audio. If all goes according to plan then buyers of the $249 Transcriptive tool will be able to choose between Speechmatics ($.07 / minute) and IBM’s Watson (which currently offers 1000 minutes free per month). Once the video is transcribed the fun begins in the PPro Transcriptive panel.

Yes it’s a picture of a brochure but you can at least get an idea of the Transcriptive interface.

There will be a number of things that will aid in the often tedious process of working with and cleaning up transcriptions. Things like speaker identification, timecode support, punctuation identification, text search and full Premiere Pro marker support means a lot of options. I love the idea of being able to read the transcription in a panel and then jump right to that part of the clip via the transcription.

If you squint real good you might be able to read a bit more detail about this new tool. Hopefully available soon.

No word on a ship date yet but beta testing will begin soon. Keep an eye on the Digital Anarchy website as more information become available.

 

The post Transcriptive – A transcription panel coming to Adobe Premiere Pro CC appeared first on ProVideo Coalition.

]]>
https://www.provideocoalition.com/transcriptive-transcription-panel-coming-adobe-premiere-pro-cc/feed/ 1
The Free Media Composer | First might finally ship in June https://www.provideocoalition.com/free-media-composer-first-might-finally-ship-june/ https://www.provideocoalition.com/free-media-composer-first-might-finally-ship-june/#respond Sun, 23 Apr 2017 02:06:01 +0000 https://www.provideocoalition.com/?p=50979 Today at the Avid Connect event that precedes NAB 2017 Avid announced Media Composer | First. This will be a free version of Media Composer targeted at “aspiring creative professionals, students, and those just starting their professional careers.” And no, you’re not having deja vu. Avid actually announced this free version back in 2015 but

The post The Free Media Composer | First might finally ship in June appeared first on ProVideo Coalition.

]]>
Today at the Avid Connect event that precedes NAB 2017 Avid announced Media Composer | First. This will be a free version of Media Composer targeted at “aspiring creative professionals, students, and those just starting their professional careers.” And no, you’re not having deja vu. Avid actually announced this free version back in 2015 but here we are 2 years later and it looks like it will finally ship on June. You can sign up and get notified when it finally drops. And hit up the Media Composer | First FAQ for more questions answered.

You’re also not having deja vu back to the early to mid–2000’s when Avid had another free version of a Media Composer-like editing application called Avid Free DV. So Avid isn’t new to this entry level, free software. They also make Pro Tools | First as well so that’s for the entry level audio folks out there.

Our friends at Going Postal Show were there at the Avid Connect event and got a few video clips of the Media Composer | First demo.

Media Composer | First is a good thing and I don’t understand what took them two years to finally get it out (assuming it ships in June). And it’s not a moment too soon. While Media Composer is still the kind of Hollywood I don’t think it’s the king of young editors anymore. I’m teaching an intro to editing class at a university in Nashville and they require students to learn Avid as they are gearing the program toward Hollywood. But 75% of these freshman have good experience in either Adobe Premiere Pro CC or Final Cut Pro X. Many of the have a real difficulty grasping the Avid-way of editing and why a number of seemingly simple tasks are either way more difficult in Media Composer or takes a lot more steps. Hopefully Media Composer | First can at least get more eyeballs on Media Composer before potential media creation students are forced onto it in school.

It will be welcome.

What’s the limitations of Media Composer | First? We won’t know for sure until it ships but these are the bullet points from the notification page:

  • Edit at the speed of your creativity with a streamlined tool that makes video creation fun and easy for aspiring and beginning storytellers
  • Unleash ideas across four video tracks and eight audio tracks, enabling you to quickly cut together layers of video, dialog, music, and sound effects to enhance your story
  • Easily share content with the world and get recognition for your work with one-click publishing to social media, including YouTube and Vimeo
  • Get professional results with little effort using many of the same tools the pros use to create your favorite movies, TV shows, commercials, and video games

While there will be some serious limitations Media Composer | First looks like it will be an easy way to get your feet wet with this industry standard NLE. That is if it actually ships this time.

The post The Free Media Composer | First might finally ship in June appeared first on ProVideo Coalition.

]]>
https://www.provideocoalition.com/free-media-composer-first-might-finally-ship-june/feed/ 0
Adobe updates Premiere Pro CC for April 2017 https://www.provideocoalition.com/adobe-updates-premiere-pro-cc-april-2017/ https://www.provideocoalition.com/adobe-updates-premiere-pro-cc-april-2017/#comments Wed, 19 Apr 2017 16:00:45 +0000 https://www.provideocoalition.com/?p=50655 Here we are on the cusp of another NAB so like we’ve seen for the last few years that must mean we are on the cusp of a big update to Adobe Premiere Pro CC and the whole Adobe Creative Cloud video suite (check out the After Effects update here). 2017 is no different …

The post Adobe updates Premiere Pro CC for April 2017 appeared first on ProVideo Coalition.

]]>

Here we are on the cusp of another NAB so like we’ve seen for the last few years that must mean we are on the cusp of a big update to Adobe Premiere Pro CC and the whole Adobe Creative Cloud video suite (check out the After Effects update here). 2017 is no different … but there is one big difference this year: we won’t have to wait until sometime late summer to get the update as it should be available much sooner, probably today … maybe right now as you’re reading this (check your Creative Cloud app as it might take longer to populate to some users).

As what seems to be the tradition here on The Editblog I’m going to try and peer beyond the press release and take a look at some of the stuff editors will most be interested in.

The Tools and the Toolbar

Take a trip to the toolbar first thing upon launching the April 2017 version of Adobe Premiere Pro CC. It’s been condensed and a number of the tools have been moved into wells that pop out to reveal similar tools. If you’re a mouse-based editor it might take an extra second or two to access a tool that used to be a faster single click. The advice then is to learn the keyboard shortcuts as that is how you should be accessing the tools anyway.

You’ll want to take note of those keyboard shortcuts as a few of them have changed to facilitate the new type tools (more on those later). This redesign also brings PPro more inline with the other Adobe CC app as far as the toolbar goes.

And if you’re coming from another NLE you may notice that each tool still has a unique shortcuts. For example, hitting the B key repeatedly won’t cycle through all those trim tools that are housed in the above well. This is kind of a bummer as that seems like it would be easy to do.

Updated Preferences

While the new toolbar will be the first thing editors notice I think one of the most important things that isn’t going to get much press in the wake of the flashy new features is a number of changes to the Preferences including a tweak to that eternal bag of hurt the Media Cache.

Media Cache

Media Cache has been broken off from Media in the preferences which is great as it is a separate thing. The engineers have added 3 options to help manage the media cache a bit better. Depending on your work, deleting old files might make the most sense but since the Media Cache default goes to your system drive the second option to delete cache when it exceeds a size might make the most sense on a laptop.

And if you look under the Media Cache Database the old Clean button now says Clean Unused. While that seems like a good change I now wonder if that is unused as far as the projects that aren’t open or unused over a time span.

Regardless it’s some change to the Media Cache which is welcome even though I still find the media cache one of PPro’s weak links. This media cache blog post from 2011 is still one my most often read posts to this day. That tells me people don’t understand it. For more education on the media cache this article from Screenlight does a great job explaining it all.

Timeline

The Timeline gets its own Preference tab now. Nothing new there as all of those preferences used to be under the General tab.

Graphics

The other new category is Graphics which I guess is now a necessity with all the new graphics functionality.

Media

The old Default Scale to Frame Size check box preference is gone and that’s now handled under Media with both SCALE and SET to frame size as options. What’s the difference? Dylan has the answer. To this day I still get those confused.

Playback

The last preference change I want to point out is the Pause Media Encoder queue during playback. This is the default behavior in older versions as pausing left more computer resources to playback video in PPro. If you uncheck this new preference Adobe Media Encoder can keep churning away in the background to get that encode done. Beware this might affect the performance of Premiere Pro. But it’s nice to have options.

The Type Tool

With the April 2017 release of PPro Adobe has completely rebuilt the type tool and taken it from a somewhat passive way to add text and shapes on the screen to what is essentially a new container that can do a whole lot more. I was never a hater of the PPro title tool, in fact I once wrote an article defending the CS4 title tool when compared to Final Cut Pro Classic and Avid Media Composer. But that was 2009 and this is 2017 and apparently the old PPRo title tool was just too old to really have any future so Adobe engineers decided to give it a rethink.

Get to know the new Type Tools in the new toolbar as you’ll spend a lot of time in them if you do a lot of typography in your video editing.

You don’t “open” the title tool anymore (it doesn’t exist) as text and shapes are created right on the Program monitor. Hit the T (or click the Type Tool if you must), click somewhere in the Program monitor and begin to type. Clicking and dragging draws a text box. If you want shapes then the Pen, Ellipse and Rectangle tool lets you draw just like you’re in Photoshop or Illustrator.

The big thing to really know about this new way of working with type and graphic elements is that a lot of time is going to be spent in the Effects Controls tab when it comes to design and manipulation of the elements. Each element you put into a design becomes a text or a shape layer in the Effects Controls (with intrinsic Transform controls like Position, Scale, Rotation and Opacity) built into each layer. If you want to change the order a Send to Back is handled by dragging to rearrange the layers. Depending on the element they might have different options available.

Shapes have simple design options like Fill, Stroke and Shadow. This is just the first implementation of these new tools so I would bet they will get further refined in upcoming versions.

The stuff you’d expect from type formatting is there too: font, style, alignment and the various typographic controls. I’ll miss the centering buttons of the old title tool (unless I’m missing them in the interface here somewhere)being front and center but you can find those in the new Essential Graphics panel. More on that later.

The other big change in this new Type tool to wrap your head around is how it operates in terms of clips vs master clips. When you create a new piece of text in the Program monitor you get a new CLIP on the timeline. That is a graphic container. As long as you have that clip/container selected in the timeline any new element you add with the new type tools go into that container. Want a new, separate graphic container/clip? Be sure any other graphic contenders are deselected in the timeline and new creations go onto a track above. PPro will auto-create a new video track if it needs to to accommodate a new graphic element.

When new graphic containers are created they are created only in the timeline. Copy/pasting those will let you create new versions independent of each other. If you want a graphic element to be a new master clip in a bin then drag it from the timeline to a bin. This will turn a named-text clip into a Graphic and it will then behave like an old-school piece of text. If you want to new, independent version of that master graphic just duplicate it in the bin. If you get a Copy 01 in your clip name then you have two different graphic elements.

We get a new Graphics menu item that has a number of rather self-explanatory options. You can use this menu to add graphic elements without using the tools. It’s worth noting here that if you have a graphic container selected in the timeline using this New Layer option will add that new layer to the existing comp in the selected graphic element. If nothing is selected you get a new graphic element!

  • New keyboard shortcuts exist for Select Next / Previous Graphic but they are unassigned by default
  • Once an element becomes a Master Graphic it seems best to edit that from the Source monitor
  • Many elements of a graphic container can be animated
  • Using the selection tool in the Program canvas will grab and manipulate individual elements of a graphic container, not the whole thing
  • You can move and manipulate an entire graphic container by using the Motion fx parameters in the Effect Controls
  • Layers can be added to graphic containers From File… so there’s a lot of possibilities for custom art and logos to be imported for design use

This new way of working with type and graphics in Adobe Premiere Pro CC April 2017 is quite different and quite powerful. If you come from a design background and have used other Adobe tools it’ll make sense pretty quickly. For others it will take some trial and error to really understand how graphic containers work, how duplicating of them affects relationship to others and how the Master Graphics concept works.

Essential Sound Panel

In what is a further melding of the features across the entire Creative Cloud suite the Essential Sound Panel comes over from Audition to PPro. If you’ve used it in Audition it works pretty much the same way.

  • Many elements of the Essential Sound Panel are independent of the clip settings. Changing the Volume>Level slider doesn’t raise or lower a clip’s rubber band automation.
  • Unfortunately the Essential Sound > Music > Duration option is the amazing Remix feature found in Audition but rather just a way change the audio playback speed with pitch shift.

Motion Graphics Templates and the Essential Graphic Panel

These are two separate new features in the April 2017 release but I think they go hand in hand. Motion Graphics Templates are … well … templates created with text and shape layers that are saved out for later recall and use.

Motion Graphics Templates are a new .mogrt format for graphic elements that you can build with the new Graphics engine in PPro and export as a template. Send those to another editor, use them in another project … whatever you want to do with them.

But the big news on Motion Graphics Templates is they can also be created in After Effects which means the motion design possibilities are much greater that just Premiere alone. In the hands of a great AE designer and animator a whole new world of possibilities open up.

Those possibilities come to life with the addition of the Essential Graphics panel which is where editors will interact with these new templates.

Before these new Motion Graphics Templates the After Effects integration was limited to mainly changing the text but this new workflow will enable a lot more customization for the editor as “text, color, size, layout or mood of the motion graphics” will all be editable depending on how the motion graphics artist sets up the template. One note from the press materials says this: “To work with Motion Graphics templates created in After Effects in Premiere Pro, After Effects (trial/license) must be installed.” Most everyone will have the full CC license so a download of AE might be in order but if you are working with a single app license of PPro you might have to install an AE trial to get Motion Graphics templates from AE to work.

I can hear the Final Cut Pro X/Motion folks already dismissing this workflow as just a copy of the FCPX/Motion integration where Motion becomes an effects and template generating powerhouse tool for FCPX. I guess it is pretty similar and since Apple did it first it could be looked at as a copycat but the PPro/AE relationship is a very natural one that had only continued to evolve over the years. Maybe Apple will add “dynamic linking” to FCPX/Motion one of these days!

  • A bunch of prebuilt Motion Templates come preinstalled in the April 2017 release so we’ll get a good place to start from.
  • I don’t think there’s an Adobe-sanctioned method or marketplace for third parties to sell Motion Graphics Templates to the world but I can’t image there won’t be some coming through Adobe Stock or enterprising designers who won’t just do it anyway.
  • Move your mouse over the Font pop-up in the Essential Graphics panel and a two finger drag on trackpad will scroll through the different fonts.

  • There’s yet another destination added to the ongoing mess that is Premiere’s Scratch Disks and caches. The destination for Motion Graphics Templates Media means there’s yet another folder to get unintentionally saved to the unintended destination.

  • Above is one of the installed templates editing in the timeline. You can see how it breaks down in the Essential Graphics panel. The two lines of text are changed not in the panel but with the Type Tool in the Program monitor. All the circles are made up of shape layers. Each of the elements have Align and Transform as well as Appearance parameters that can be changed.
  • You can share Motion Graphics templates via CC Libraries so that means that feature might actually get some use from a lot of us video people.

Another little addition to the April 2017 release of Adobe Premiere Pro CC is a bit of help for the new editor. Depending on your setup you might see a new welcome screen that is a video that is designed to walk the new editor through the editorial process. Most over that screen and there are options for Watch, Get Started and Explore.

If you don’t see the screen pop up just go to Help > Welcome Screen and you can find it. If you choose Get Started you’ll be taken to a new Let’s Get Started import box to get that first bit of footage loaded and move on to editing.

Choose Explore and PPro will open a pre-buit project called Going Home that is an edit of that background video. 

If you look closely above you’ll see that video was loaded into a tutorial directory in the Shared user profile. Looks like Adobe might be downloading that automatically with the update. It’s just over 165 MB so it’s not too big. Add this tutorial project to the new Essential panels and you’ve got Adobe making a push for the new user.  It truly is a video world that we are living in.

And speaking of that you can now publish right to Adobe Stock as a new encoding destination.

Plus a few more bullet points straight from the Adobe release site:

  • New audio effects & improved integration with Adobe Audition – Send audio effects and keyframes used in Premiere Pro to Audition without any rendering.
  • Ambisonic audio output for VR-enabled platforms such as YouTube and Facebook.
  • Support for Apple MacBook Pro Touch bar and Microsoft Surface Dial.
  • Support for new formats.
  • Enhanced support for Team Projects Dynamic Link.
  • Motion graphics Enhanced 4K 60p performance.
  • Improved support for Apple Metal.
  • Video preview of Stock footage within the Libraries panel and much more.

 

Those are the big features updates as I see them in this April 2017 update to Adobe Premiere Pro CC. As mentioned above it’s a big change to have this update ready for download day and date of the announcement. It goes without saying that you never update in the middle of a project but if you do then do it the right way. And make special note that Premiere Bro says there is not option to keep the previous version of PPro installed as there has been in the past. This is different from previous updates so PROCEED WITH CAUTION.

And since this is a patch that updates the old install this video below can help find any previous version if you need to do a complete uninstall.

The post Adobe updates Premiere Pro CC for April 2017 appeared first on ProVideo Coalition.

]]>
https://www.provideocoalition.com/adobe-updates-premiere-pro-cc-april-2017/feed/ 24
Blackmagic Design introduces two new color grading panels for DaVinci Resolve https://www.provideocoalition.com/blackmagic-design-introduces-two-new-color-grading-panels-davinci-resolve/ https://www.provideocoalition.com/blackmagic-design-introduces-two-new-color-grading-panels-davinci-resolve/#respond Thu, 02 Mar 2017 22:39:56 +0000 https://www.provideocoalition.com/?p=47104 In what was a pre-NAB post-Christmas big bag of goodies Blackmagic held a live-stream press conference on March 2 and introduced a batch of products that most would have thought to be the cornerstone of their NAB announcements. While I’m sure the new URSA Mini Pro will be all the talk it’s the two new color

The post Blackmagic Design introduces two new color grading panels for DaVinci Resolve appeared first on ProVideo Coalition.

]]>
In what was a pre-NAB post-Christmas big bag of goodies Blackmagic held a live-stream press conference on March 2 and introduced a batch of products that most would have thought to be the cornerstone of their NAB announcements. While I’m sure the new URSA Mini Pro will be all the talk it’s the two new color grading panels for Resolve that are of interest to many of us in post-production.

I’m not sure I believe Grant Petty’s statement in the press conference when he said “more people are editing now on DaVinci now than actually doing color correction” but okay. There’s no denying that BMD are wanting editors to edit in Resolve and these new panels might just push some full workflows into Resolve for creative offline if they know they can now affordably use panels with Resolve. It also might mean there’s a few dedicated colorists out there shaking their fists in anger.

The full press conference is available below.

It’s a good watch to see these panels demoed and hear the reasoning behind their creation. To get a more detailed look at the new Resolve panels check them out here. You can get your credit cards out and buy them now.

DaVinci Resolve Mini Panel

The $2,995 DaVinci Resolve Mini Panel is a scaled down version of the OG, big-boy DaVinci Resolve Advanced panel. It’s biggest advantage over the smaller Micro panel is that is has a number of one-button controls built in.

Some of the features of the Mini include:

  • 3 high resolution weighted trackballs
  • 12 control knobs dedicated to the powerful primary color correction tools
  • 18 dedicated navigation and transport keys
  • an upper deck with two 5” screens
  • 8 soft knobs and 8 soft buttons
  • dedicated keys for switching tools, working with nodes, grabbing stills, navigating the timeline
This is the right side buttons of the new Resolve Mini panel
This is the left side of the Mini

According to Grant these panels have the look and feel of the $30,000 Advanced panel so it should be a pretty seamless transition from one Resolve panel to another.

DaVinci Resolve Micro Panel

Features of the Micro include:

  • 3 high resolution weighted trackballs
  • 12 control knobs for advanced primary color correction
  • 18 dedicated navigation and transport keys

The $995 DaVinci Resolve Micro panel is by far the most affordable Blackmagic panel and takes aim squarely at Tangent as the “cheapest” grading panels out there.

A detail of the left side of the Micro panel.
Detail of the right side of the Micro panel.

You can buy these new panels now at any of those places you buy Blackmagic products.

What about Tangent?

It seems like Blackmagic is taking aim at Tangent and their affordable panels like the Ripple, Wave and Element system. In fact the press release even mentions “cheap panels on the market.” I don’t think it’s quite the dig that it sounds as Grant made it a point to mention in the news conference that BMD appreciates that these “cheap” panels have brought color grading to even more of the masses. That translates as bringing more people to Resolve as well as there wouldn’t be as many dedicated Resolve users out there if it wasn’t for the Tangent panels which have been around for years.

Tangent made a big splash at NAB 2016 when they introduced the Tangent Ripple. It truly was (and still is) the most affordable grading surface out there. I don’t see the Resolve Micro Panel killing off the Ripple as the Ripple has a few advantages:

  • The Ripple (and Wave and Element) can be used with more grading software beyond Resolve
  • At $350 the Ripple is still cheaper

But Grant is right that the Ripple is plastic and will feel like a lower quality product. Since it doesn’t have extra dedicated buttons it really is a panel you’re using mainly for the dials and trackerballs. I see them as different products that can co-exist though when you do see them side-by-side they look quite different.

The real questions is how will the Tangent Wave and Tangent Element fare again the Resolve Micro and Mini. I think those Tangent panels are most vulnerable in the market with these new Resolve panels out in the wild. But they still have the advantage of working with software beyond Resolve. As Adobe Premiere Pro CC continues to mature and update the Lumetri color tools we can expect to see more products using it and staying in the Premiere pipeline as that Resolve conform is something many will try to avoid. I can’t help but wonder if someone somewhere somehow will make these new Resolve surfaces work with Premiere Pro since it can support color control surfaces now. Sure the buttons and knobs wouldn’t be quite the same but a lot of if would.

UPDATE 3-3-17: Alexis Van Hurkman has taken an early look at these new panels and this is what he says about non-Resolve software support:

“The only caveat I would mention is that this panel only works with DaVinci Resolve. If you’re someone who uses a variety of panel-aware applications and you want a panel that can drive them all, you’ll want to look to Tangent Design, Avid, JL Cooper, or OxygenTec.”

The other real question is what does Blackmagic have left to introduce at NAB 2017? An affordable grading monitor? Their own Blackmagic branded drone? A Resolve-branded PC with Resolve-branded GPUs? The Resolve RAID? The Blackmagic Car? Maybe they’re just taking a different approach to NAB now and getting out ahead of the scrum of new NAB products. But I bet they still have something new that they will show us.

The post Blackmagic Design introduces two new color grading panels for DaVinci Resolve appeared first on ProVideo Coalition.

]]>
https://www.provideocoalition.com/blackmagic-design-introduces-two-new-color-grading-panels-davinci-resolve/feed/ 0
The Editblog’s 2017 NLE Buyer’s Guide https://www.provideocoalition.com/editblogs-2017-nle-buyers-guide/ https://www.provideocoalition.com/editblogs-2017-nle-buyers-guide/#comments Mon, 30 Jan 2017 16:45:47 +0000 https://www.provideocoalition.com/?p=44855 It’s a new year and 2017 is a year unlike any other in terms of the technology we have at our disposal for editing and post-production. The controversy over the new MacBook Pro aside we have very powerful hardware to choose from over a wide range of prices. If you’re in the game to edit

The post The Editblog’s 2017 NLE Buyer’s Guide appeared first on ProVideo Coalition.

]]>

It’s a new year and 2017 is a year unlike any other in terms of the technology we have at our disposal for editing and post-production. The controversy over the new MacBook Pro aside we have very powerful hardware to choose from over a wide range of prices. If you’re in the game to edit then running on that hardware will be non-linear editing software as there’s no way around using an NLE to cut your film, commercial, music video, documentary or story together.

Now more than ever there is a broad range of applications that editors (both experienced and amateur, pro and hobbyist alike) can choose from when it comes time to cut their show. Beyond the most obvious of choices when it comes to Adobe, Avid and Apple there are NLEs that fit any budget, run on any platform and can meet most any need. This buyer’s guide came from a list I was putting together for a client who asked about alternatives beyond Adobe, Avid and Apple (and this whole thing will be a class at NAB Post|Production World as well). I was surprised by how many choices we have these days and how capable many of them are.

All of the NLEs listed here have achieved some level of notoriety in the “professional” editing market and/or have pushed into the collective consciousness of the film/video production space to be, IMHO, considered relevant. What’s not included here are any of the numerous “low end” video editing applications that come from small programmers and quickie developers that are in the Windows app store or the Mac app store. Some of those “low end” tools not mentioned here might not be low end at all but they aren’t well known enough to have made a dent in the production world, either in the past or the present. In addition, I’ve personally used almost all of these NLEs mentioned below in some capacity.

Here we go.


 (you can get that custom 2017 icon here)

Adobe Premiere Pro CC 2017

Mac/PC – $50 / month for the main Creative Cloud plan

By now Adobe Premiere Pro has a good footing in the post-production space. It may not be editing all of Hollywood’s films and television shows yet but it’s found it’s place in most all other markets. IMHO PPro CC currently has the most well-rounded feature set when it comes to power/price/performance while maintaining the traditional editing paradigm that most editors know.

If you’re working outside of Hollywood then you’ve probably encountered Premiere Pro quite a bit over the last few years. Adobe has been on a steady march forward as they have continued to update and refine Premiere since CS 5 and 6. Premiere seems to have cemented itself at the top of the heap in terms of access, marketing and place in the overall video editing world.

Pros: Both Mac and PC versions available as well as cross platform compatibility between them; nearly infinitely customizable; lots of updates seemingly all the time

Cons: If you read the internet you’d think it’s an unstable NLE; monthly subscription costs; lots of updates seemingly all the time

Wildcard: Adobe Team Projects. If Adobe’s new collaboration tools work well and are affordable they might be able to take some marketshare from Avid in Hollywood.

Buying Advice: If you want to be able to move up, down, left, right to any other NLE out there then Premiere is the way to go. The value of all that you get in the monthly Creative Cloud subscription cost can’t be matched. More and more outlets, companies and editors seem to be moving to Premiere.


Apple Final Cut Pro X

Mac – $300 (Mac App Store link)

Final Cut Pro X 10.3 introduced an updated interface and enhancements to the Magnetic Timeline. While the original FCPX unfairly got a bad reputation the current version can do most anything that its competitors can do (though you may have to rely on third party tools for some workflows) and often do them faster. If you’re STILL complaining about FCPX then you need to get a life.

You know it exists but you might not have used it. Or you may use it all the time and thing that those that don’t are insane. Or you might think that anyone who would even entertain the idea of using FCPX is insane.

Rest assured that if you do edit with Final Cut Pro X you’re probably happily editing along every day getting your work done just as well as those not working with FCPX. With version 10.3 of FCPX Apple addressed some longstanding complaints that made this entirely capable NLE even more capable. I don’t know many editors who have tried it who haven’t at least acknowledged many of its strengths.

Pros: Organizational capabilities unlike any other NLE on the planet; speed both in general usage and exporting; it thinks different

Cons: Mac only; still missing some pretty basic NLE features you’d be expecting if you’ve used any other NLE for any length of time; native MXF support doesn’t always mean native MXF support, it thinks different

Wildcard: Organization and metadata. I’ve yet to meet an editor who didn’t marvel at FCPX’s different way of thinking when it comes to sorting, organizing and finding media. And in an increasingly metadata-centric production world FCPX can do things the other NLEs can’t.

Buying Advice: Don’t try to make FCPX act like another NLE and you’ll be much happier; get as fast a Mac as possible to run it and you’ll be much happier


Avid Media Composer

Mac/PC – $50 / month to $1,299 depending on license

Some find the Avid Media Composer interface to look and feel dated while others find comfort in its utilitarian design. Truth is that if you know it well it will do anything you ask and rarely let you down. Just don’t expect the most modern of features.

Contrary to what you might believe from reading the Wall Street financial reports on Avid, Media Composer is the tool cutting most of what you see at the movies and on network television today. Avid’s programmers seem to have woken up over the last couple of years as recent updates have added some very good (and long time coming) features that makes editing in Avid Media Composer a much nicer than it has ever been.

Pros: It’s a workhorse; it has a track record unmatched by any other NLE out there; purchase by subscription or perpetual license; Hollywood uses it so how bad can it be?

Cons: It’s not a “modern” NLE and its age shows; to do certain things you have to click … a lot; Hollywood does use it but what they don’t tell you is much of Hollywood hasn’t upgraded in years

The Source Browser is one of the biggest changes to come to Media Composer in years. And it has come along years behind Adobe.

Wildcard: Shared storage. Beyond the fact that Media Composer is still the king in Hollywood Avid owns and sells the gold standard for shared storage: Unity, ISIS, NEXIS is their new product in a long line of shared storage which is reliable and installed in post-production houses all over the world. Oh, there’s also the wildcard of what seems to be an endless string of corporate layoffs and falling stock price.

Buying Advice: Since the Nexidia ScriptSync/PhraseFind technology is coming back that’s a tool that only Avid has; MC’s strong point is collaboration but I don’t see many lone-wolf editors basing their edit suites around Media Composer these days; no one has ever been fired for choosing Avid.


DaVinci Resolve

Mac/PC (you won’t need the Linux version) Free – $995

The speed at which DaVinci Resolve has gone from high end color grading tool to very capable NLE is breathtaking. While it’s not in the same league as Avid, Apple and Adobe as a reliable offline editing tool it’s getting close and will only keep getting closer.

No NLE list compiled today is complete without mentioning Resolve though you might not yet see it populating many craft editor’s suites at this point in time. Blackmagic has put a lot of resources into building the editing functions of Resolve into something that can compete with the big boys.

Pros: The free version is incredibly capable; constant updating by the Blackmagic engineers; it’s an NLE that’s got pretty good color correction built right in

Cons: The NLE portion might not be up to the standards that Blackmagic marketing would have you believe; media management (an important thing for real-world, big-project editing) needs work; does the market need another NLE that doesn’t “think different?”

Wildcard: Blackmagic. Though it still has the name DaVinci Resolve, make no mistakes that this product is now Blackmagic’s and they are in it for the long haul.

Buying Advice: Since you can do most all of the editing you’d ever want with the free version there is no buying, just downloading (compare versions here). You’ve got nothing to lose in trying it out.


Autodesk Smoke for Mac

Smoke made a big splash when it came to Mac many years ago. It’s hard to know how successful this Mac version has been. But there is no doubt it’s one powerful tool in the hands of a good Smoke artist.

Mac – $185 monthly up to $1,470 annually

Smoke on Mac is still a thing. It’s still shipping and Autodesk is still supporting it contrary to what you would have though at NAB 2016 since it was nowhere to be seen at the Autodesk booth. Smoke is at version 2017 so that’s a fresh update for the new year.

Pros: It’s an incredibly powerful piece of software that can do some amazing things if you can master it; from the Autodesk website: “Use Timeline FX within a familiar track-based video editing timeline” means it will look somewhat familiar to the editor; there was a time when you had to mortgage your house to be able to afford Smoke

Cons: despite how it was marketed when it came to the Mac, Smoke isn’t an offline editor and no one is using it that way

Wildcard: Autodesk’s commitment to the tool. I don’t have any idea how successfully Smoke for Mac has been but the lack of it at the NAB 2016 Autodesk booth might speak volumes to their commitment.

Buying Advice: Those that need/want Smoke know who they are and what they are getting into, everyone else move along and keep using your Adobe Creative Suite.


Magix Vegas Pro

PC – $399 Edit, $599 Pro, $799 Suite

Writing this article was the first time I had ever sat in front of Vegas. While I didn’t get to dig too deep I could see a lot of impressive features just waiting to be discovered. I couldn’t figure out how to get the right aspect ratio with this 720p footage though.

Vegas is that fringe tool of the video editing world. It has been around forever and most everyone working in post-production had heard of it but the majority had never used it. Sony decided that it no longer fit into their plans and sold it to Magix. That looks to mean new life for Vegas as Magix is marketing and developing it.

Pros: Vegas has been around a long time and with the purchase by Magix it doesn’t look like it’s going anywhere; there are those that swear by Vegas; it was doing modern NLE things before most others

Cons: Most freelance editors I’ve talked to have never seen Vegas out in the wild or been called to work on Vegas; Magix isn’t Sony (but maybe that’s a Pro?); Vegas gets no respect

Wow. That's a lot of import/export options available in Magix VEGAS Pro 14.

A post shared by Scott Simmons (@editblog) on

Wildcard: Magix. With a new owner we can expect a new marketing push for Vegas Pro and maybe they can tell all the rest of us why the diehard Vegas users love it so. I remember diehard Avid DS users telling us why they loved that tool so much but that didn’t save it.

Buying Advice: I think Vegas is a bit like Smoke … if you want it and need it then you’ll buy it and no one can tell you different. Godspeed.


Lightworks

Mac/PC/Linux – $25 / month, $175 / year, $438 outright license

Every time I mess around with Lightworks I think “quirky.” It’s an interesting NLE that seems to be able to do a lot. The trimming always seems to be a strong point. And if it’s not dead yet then it probably won’t go anywhere for a long while.

Lightworks is another NLE that has been around for year and years thought the Lightworks that you install today is very, very different than the Lightworks of 1999. The interface is different, the media you put into it is different and the company that owns it is different. But it’s still alive and kicking.

Pros: Like Vegas Lightworks has been around for a long time but it’s been used in very different markets than Vegas; it has that cool Lightworks Console controller hardware; it has a Linux version (how many other NLEs can say that?)

Cons: It’s got some kinda quirky stuff to it; Bless its heart it just hasn’t been able to get much traction over the years outside of Thelma Schoonmaker; Do you really know anyone who regularly uses Lightworks?

Wildcard: A world without Avid? If something did happen to Avid and Media Composer went away Lightworks could benefit. The tools has a history in Hollywood so there would be those who would probably champion it over Adobe.

Buying Advice: Lightworks does a lot of stuff and it’s been around forever so if you work all on your own and you want to do your own thing then give Lightworks a try … and invite me over to hang out so I can watch you run it.


Media 100

Mac – $99…. actually now it is FREE.

Even thought I worked on Media 100 years ago it felt very foreign booting it up for this article. Thought it ran on macOS Sierra I got a warning or two. Performance wasn’t great and the settings seemed ancient but this was an NLE from an earlier era.

That’s right, Media 100 is still around after all these years and you can download an installer right now. In my limited time playing with it it’s hard to know if it could handle the demands of current day media production when it comes to both formats and quantity. But the Creative Cow Media 100 forum still has active users posting so it’s Not Dead Yet.

Media 100 had the most advanced mixer that I remember for its time… back in the early 00s.

Pros: Media 100 is still a thing and can be downloaded and used; it has a 60 day free trial so you really can give it a shot; Media 100 costs $99 and does a lot for that $99 so what have you got to lose besides $99?

Cons: 9 out of 10 editors out in the world thought Media 100 was dead and gone; it’s hard to be sure of its future but hell, it’s lasted this long and it’s only $99 so what have you got to lose?

Wildcard: I don’t think there is a wildcard for Media 100. It’s an old tool that feels old when you use it. If there’s enough of a fanbase to pay for its development it’ll live, if not … it won’t.

Buying Advice: If you dedicate some time to Media 100 I bet you can get in good with Boris FX and help steer the direction of the product; This Rest in peace M100 thread might be a good read before buying; It’s $99 and has a long feature list so what have you got to lose?


Sony Catalyst Edit

Mac/PC – $22 / month to $200 / year

Catalyst has a somewhat “traditional” interface and workflow. It feels like a combination of FCPX and it’s single-screen design and a normal track-based NLE. Integration with Sony cameras is probably where the entire Catalyst package would shine.

Sony introduced Catalyst Edit as part of the Catalyst Production Suite. It supports resolutions up to 4K and has a companion app in Sony Catalyst Prepare. It fells a bit like the Adobe Prelude to Premiere workflow. These products are interesting birds: they seem dedicated to Sony media but they’ll work with formats beyond what is acquired by Sony cameras; the interface is simple and a little generic but yet housing some powerful features; they were created by Sony and then Sony ditched most all their other software. I don’t have any idea who the target market of Catalyst might be.

Pros: In my limited use of Catalyst Edit the Sony mantra of “focused, fast editing” seems to be true as the NLE isn’t bloated with features; if you live in a Sony world the the Catalyst Production Suite might be for you

Cons: Sony isn’t exactly known for their software (they saw fit to ditch Vegas); It’s a step backward features wise from more established NLEs; Did you even know this thing existed?

Wildcard: Sony. Sony sells a lot of cameras that product media that needs to be organized and edited. If they can get their camera fan base to try the Catalyst Suite they might win a few converts. They could start by giving it away for free with any Sony camera purchase.

Buying Advice: With a package as new and unknown as Sony Catalyst Edit you have to download the free trial and try it yourself.


EDIUS Pro 8

PC – “We have EDIUS Pro 8 in stock and on sale for $479” is one price that I found.

Out of every NLE here in this list I know less about EDIUS Pro than any others. It must be in use in a lot of places around the world, at least that was the impression I got from getting a demo of EDIUS at NAB 2016. There’s a lot of EDIUS videos on YouTube that have a lot of views (if that is any indication). But asking Twitter who out there uses EDIUS … crickets.

Pros: Believe it or not there are a lot of EDIUS users out there; being a part of Grass Valley means a big booth at the very front of the NAB South Hall; EDIUS has a ton of features and a decent third party plug-in market with names you’ll recognize

Cons: Most of us have never seen EDIUS in the wild, Grass Valley doesn’t exactly seem to promote the EDIUS product very much

Wildcard: News. I’m speculating here but I think EDIUS is installed in newsrooms around the world. That’s a good user-base right there.

Buying Advice: There’s no way I could give any advice on buying EDIUS Pro 8 beyond saying that it isn’t at all prevalent in the markets where I work so I would advise a client on Adobe, Avid or Apple NLEs. That doesn’t mean EDIUS couldn’t get the job done as I’m sure it will do what all of its competitors will do in the hands of a skilled EDIUS operator.  In the meantime, put on your dancing shoes and watch the editor below have a play in EDIUS 8 if you want to know more.


HitFilm

Mac/PC – Free up to $349

HitFilm Express acts and feels a lot like Premiere Pro. There are a lot of tools even in the free Express version and a look around YouTube shows a lot of people doing some cool work.

Remember the talk of the extreme super-NLE a few years ago? HitFilm seems to be as close as we’ve come to the super-NLE that really can do everything. I hear very little about HitFilm in the markets I work in but my anecdotal evidence tells me it’s got a big fan base with a bunch of users. When my boys decide it’s time to make their own action/horror/special fx movies I’m going to get them HitFilm.

Pros: It can do a lot of stuff at a very low price; if you’re into effects-y kind of filmmaking but don’t want to learn After Effects HitFilm is a good way to go; they also make a HitFilm plug-in package for other NLEs

Cons: I think many people view HitFilm as a toy; you’re not going to work in Hollywood by devoting a career to HitFilm

Wildcard: The kiddos. While there are lot of youngsters making their movies with FCPX there’s a lot of them also using HitFilm. By marketing HitFilm’s bullet hits, blood spatters, light sabers and plasma flashes their going to pick up a lot young filmmakers.

Buying Advice: Got only $349 to spend on your NLE that you need to do everything humanly possible from editing to visual effects? HitFilm might be the only option in town. Aside from the Pro version, HitFilm Express might be the most capable free editing and post-production tool on the planet that could give DaVinci Resolve a run for its money.


Final Cut Pro 7 (Classic)

Even though it can feel like a warm blanket when you boot into it, Final Cut Pro 7 (Classic) really shows its age and humble beginnings in a hi-def world. Constant rendering (and crashing) can bring a good session to a halt. But FCP7 had a long and successful run and broke Avid Media Composer’s grasp on the post-production industry … and let many of us work from our own shop.

Mac – Search out eBay, Craigslist or maybe Amazon

Believe it or not FCP7 still runs on the latest Mac OS. And believe it or not if you search Amazon and eBay you can still get the install discs. And also believe it or not there are people in the world who have purchased it as recently as yesterday (though that 1 left in stock might be gone by the time you read this).

Pros: I bet there are still editors out there who know how to use it; I bet there are still editors out there who are actually using it; it still has a few things the others don’t;  it will slice through your DV25 material like butter

Cons: Do I really have to list any?

Wildcard: The wildcard here is that people are still actually using it. And there might be more people still using FCP7 (Classic) around the world than we realize.

Buying Advice: Don’t.


What do you think? Did I get it wrong on the Pros, Cons and Buying Advice for any of the NLEs above? Did I miss one entirely? Should Blender really be a consideration for video editing? Is one of those more obscure tools your weapon of choice? Please leave a comment below and tell me where I’m wrong.

The post The Editblog’s 2017 NLE Buyer’s Guide appeared first on ProVideo Coalition.

]]>
https://www.provideocoalition.com/editblogs-2017-nle-buyers-guide/feed/ 9
Christmas gift ideas for the editor – 2016 edition https://www.provideocoalition.com/christmas-gift-ideas-editor-2016-edition/ https://www.provideocoalition.com/christmas-gift-ideas-editor-2016-edition/#respond Sun, 27 Nov 2016 21:18:22 +0000 https://www.provideocoalition.com/?p=41958 Since Thanksgiving is over here in the United States it must mean the holiday buying season is in full swing. That must also mean it’s time for the original, everywhere-duplicate Christmas Gift for Editors. This series is now in its 7th year and to be quite honest it’s getting to where there isn’t a ton of

The post Christmas gift ideas for the editor – 2016 edition appeared first on ProVideo Coalition.

]]>
xmas-gifts-2016-featured

Since Thanksgiving is over here in the United States it must mean the holiday buying season is in full swing. That must also mean it’s time for the original, everywhere-duplicate Christmas Gift for Editors. This series is now in its 7th year and to be quite honest it’s getting to where there isn’t a ton of really new and original stuff that might make a great gift for Editors. A new computer is always nice. And you can never have enough hard drives. But I’ve found a few things below. As always dig into the 2010, 2011, 2012, 2013, 2014 or 2015 edition for TONS of other great ideas.

Tangent Ripple

At the top of the list has to be the Tangent Ripple. We’ve mentioned the Tangent Element before in the Xmas list but the Ripple is the $350 option that the occasional color grading editor needs. It’s small, easy to set up and affordable. Read all about it in my review. While you can order it from a lot of places why not support the good folks at Flanders Scientific as they sell it right in their store.

Macbook Pro with Touchbar

macbook-pro

Let’s face it: there has been a lot of controversy about the newest MacBook Pro. But the truth is that if you’ve a Apple used and editor there is no way you would turn one down if Santa brought you one for Christmas. So the new MacBook Pro goes near the top of the list. I was going to next list a batch of Thunderbolt 3 peripherals you can use with this new MacBook Pro but since it’s currently such a confusing market of what will work and what won’t I’ll just leave that for another time.

Sony Rugged RAID

Review of the new ruggedized Sony RAID Sony's latest professional RAID might just be the new favorite drive for on-set transfers

I was very surprised how useful it was to have a truly portable RAID in the edit suite while I was writing this review of the Sony PSZ-RA4T Rugged RAID. It is fast, rugged and easily portable with a rubber bumper-like casing and an integrated handle. It’s the kind of thing that most any editor could make use of. I’d recommend the 6 TB version as the more space the better when it comes to hard drives these days. You can buy them from PVC’s sister site Filmtools and support PVC along the way.

Speaker Isolation Stands

isoacoustics  pyle

There are a lot of different options for speaker isolation stands/pads that get your studio monitors up off the desk. The ones I decided on and have been very happy with are IsoAcoustics. They make a number of different options but their adjustability and design are two reasons that I like them over just a formed foam pad. Search Amazon and there are a ton of options at a lot of different prices so you should be able to find some for most any budget.

Mini Fridge

red-fridge han-solo-fridge

Every edit suite needs access to a refrigerator to keeps drinks cool, water chilled or beer cold. Depending on what you might want to put in it there are several options that could be good for an edit suite. To cover all bases these Danby compact refrigerators come in a large variety of size, styles and prices.  If you want another category of options then check out the Koolatron line on Amazon as there are lots of different types. Finally there’s the Han Solo Fridge for the ultimate conversation piece but according to the reviews on ThinkGeek it might not be the best at actually cooling the beverages.

Neon Video Sign

n100-1674-video-oval-blue-neon-sign

This one might be a bit extravagant but an editor who is trying out outfit an edit suite with some unique decor might love to have a neon video sign.  A place like Everything Neon has a bunch of them. But they aren’t cheap with prices starting in the high $200s. It’s probably best to voice the XXX Video signs though.

GT Office Chair

22988-jpg

Here’s another gift for the editor that has everything (and it’s probably best for the automotive fan): A GT Office Chair. This chair looks like the supportive bucket seats you see in many high end sports cars. It’s certainly stylish looking and would make a great conversation piece. But at $400 it isn’t cheap but then again good office chairs can cost twice that. I doubt that this chair has an adjustable pump-up lumber support though.

Whiskey accessories

I’m a fan of good Scotch and often like to imbibe a bit after a good editing day. If your editor is a whiskey drinker then there’s a few items that will make the experience a bit more pleasurable.

glencarin-glass

A good set of whiskey glasses are a must and the Glencairn glasses are a must. And at under $13 they are affordable. If you like the peaty variety then the Ardbeg tasting glass is a great choice to keep the smokey aroma in until you sip. I recently broke the leg to one of mine so I’m in the market for a replacement.

whiskey-stone

Don’t let the whiskey drinker water down their single malt with melting gobs of ice. Get them a nice set of whiskey stones to chill the beverage just a bit but not water it down.

41aimc2huflfunny-mug

And while you might not want to drink good whiskey out of them these two novelty items might make for a good pen holder and conversation piece. There’s the Good Day Bad Day glass as well as the Funny Mug.

Vintage Television or (Not so Vintage) Movie Art

philco-television-mike-mcglothlen drive-metal-poster

If you’re decorating an edit suite then how about some vintage television art. What I like about this selection from Fine Art America is that isn’t not all tv shows in the art but some cool shots of old television sets and images that are a bit more abstract. But there’s your usual shows and tv star prints in there as well. If you want to take this idea a step further into some even cooler, more abstract images that are metal check out the tv and movies category at Displate. There’s some really nice stuff there.

Coffee (or tea) Mug Warmer

mr-coffee-electric-mug-warmer

I don’t drink a lot of coffee but I do like tea. I like to drink slowly so a mug warmer is a nice thing to have around. I’m sure most any editor out there would appreciate one. There are a million of them and the click-bait ad sites even rank them! Here’s a list of 8 USB food gadgets of a coffee warmer isn’t your thing.

I hope those might be some helpful hints for the Christmas buying season. Some of these links go to the manufacturer site, some to retailers and a few are Amazon affiliate links as those are easier links to paste than the regular one. As always editor you can forward this link (or any of the previous years above) over to someone you love who doesn’t know what to buy you. Or just treat yourself! Happy Holidays from The Editblog.

Support ProVideo Coalition
Shop with

The post Christmas gift ideas for the editor – 2016 edition appeared first on ProVideo Coalition.

]]>
https://www.provideocoalition.com/christmas-gift-ideas-editor-2016-edition/feed/ 0