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Tip #1129: What is the Alpha Channel?

… for Codecs & Media

Tip #1129: What is the Alpha Channel?

Larry Jordan – LarryJordan.com

Invented in the 1970’s, alpha channels are an indispensable workhorse for visual effects.

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Invented in the 1970’s by Alvy Ray Smith, Techopedia defines the alpha channel as a color component that represents the degree of transparency (or opacity) of a color (i.e., the red, green and blue channels). It is used to determine how a pixel is rendered when blended with another.

The alpha channel controls the transparency or opacity of a color. Its value can be represented as a real value, a percentage, or an integer: full transparency is 0.0, 0% or 0, whereas full opacity is 1.0, 100% or 255, respectively.

When a color (source) is blended with another color (background), e.g., when an image is overlaid onto another image, the alpha value of the source color is used to determine the resulting color. If the alpha value is opaque, the source color overwrites the destination color; if transparent, the source color is invisible, allowing the background color to show through. If the value is in between, the resulting color has a varying degree of transparency/opacity, which creates a translucent effect.

The alpha channel is used primarily in alpha blending and alpha compositing.

ALPHA COMPOSITING

Wikipedia defines “alpha compositing” as:

In computer graphics, alpha compositing is the process of combining one image with a background to create the appearance of partial or full transparency. It is often useful to render picture elements (pixels) in separate passes or layers and then combine the resulting 2D images into a single, final image called the composite. Compositing is used extensively in film when combining computer-rendered image elements with live footage. Alpha blending is also used in 2D computer graphics to put rasterized foreground elements over a background.

In order to combine the picture elements of the images correctly, it is necessary to keep an associated matte for each element in addition to its color. This matte layer contains the coverage information—the shape of the geometry being drawn—making it possible to distinguish between parts of the image where something was drawn and parts that are empty.

Although the most basic operation of combining two images is to put one over the other, there are many operations, or blend modes, that are used.

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Tip #1128: Apple Wins Engineering Emmy

… for Codecs & Media

Tip #1128: Apple Wins Engineering Emmy

Larry Jordan – LarryJordan.com

Apple won an Engineering Emmy for the ProRes family of codecs.

Television Academy logo.

Topic $TipTopic

Apple won a Engineering Emmy for exceptional engineering development which will be announced at the Oct. 29 Emmy Awards ceremony.

According to the announcement from the Academy:

Engineering Emmys are presented to an individual, company or organization for developments in engineering that are either so extensive an improvement on existing methods or so innovative in nature that they materially affect the production, recording, transmission or reception of television. This year the Academy is recognizing nine companies and five individuals with the prestigious award.

Apple was specifically honored for its ProRes family of codecs. As the Academy wrote:

Introduced in 2007, Apple ProRes has become a ubiquitous video codec in the film and television industry. It offers excellent preservation of source video quality and, thanks to innovative algorithm design, fast encoding and ultra-fast decoding. These two properties—combined with Apple’s industry licensing and certification support—make ProRes among the most widely used codecs for end-to-end content-creation workflows: from high-quality acquisition to high-performance editing, color correction, broadcast ingest and playout, and FX creation to master content distribution and archiving.

Joining Apple for Engineering Awards this year are:

  • Codex – for high-speed data migration of RAW content
  • Dan Dugan – for gain sharing automatic microphone mixing
  • Epic Games – for the Unreal Engine
  • Re:Vision Effects – for optical flow-based video tools
  • Sound Radix – for Auto-Align Post for audio phase/time corrections
  • Bill Spitzak, Jonathan Egstad, Peter Crossley and Jerry Huxtable – for Nuke.

Here’s an Apple summary of the ProRes codec family.

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Tip #1113: Mixed Frame Size Multicam Clips

… for Adobe Premiere Pro CC

Tip #1113: Mixed Frame Size Multicam Clips

Larry Jordan – LarryJordan.com

Premiere creates multi-camera source sequences based upon the first clip you select.

A 4k multicam clip (top), edited into a 1080p timeline (bottom).

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Premiere has a special trick that allows it to easily create multi-camera source sequences (multicam) that contain clips of different frame sizes.

The secret is to make sure to select the clip with the largest frame size FIRST when selecting clips to include in a multicam clip.

Then, in the Create Multi-Camera Source Sequence window, set Sequence Preset to Automatic. This creates a multicam that matches the largest clip.

Next, create a sequence with the frame size you need and edit the multicam into it.

The screen shot illustrates a source multicam (top) where the image of earth is 4K, while the pouring steel shots are 1080p. The bottom image shows the same clip edited into a 1080p sequence. The pouring steel images are perfectly framed, while the 4K clip can now be scaled to whatever size you want using Effect Controls.

EXTRA CREDIT

For this to work, be sure to set Preferences > Media > Default Media Scaling to None.

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Tip #1111: Adobe Sneak Peaks

… for Adobe Premiere Pro CC

Tip #1111: Adobe Sneak Peaks

Larry Jordan – LarryJordan.com

Here’s the full list of new tech premiered at Adobe Sneaks.

(Image courtesy of pexels.com.)

Topic $TipTopic

Last week, at Adobe MAX, comedian Chelsea Handler co-hosted Sneaks, a preview of the futuristic tech Adobe engineers and researchers are exploring.

These Sneaks preview cutting-edge technologies from Adobe’s labs —and some may even make their way into future Adobe products. From tapping AI to fix blurry videos to enabling collaboration in augmented reality (AR) experiences, these experimental Sneaks push the boundaries of creative innovation.

Here’s the full list.

Project Sharp Shots – powered by Adobe Sensei (Adobe’s AI and machine learning technology)

  • #SharpShotsSneak takes advantage of advancements in computer vision and deep learning to transform blurry videos into sharp, steady, action-packed footage.

Project Scantastic

  • #Scantastic offers an intuitive solution that leverages your smartphone and a photogrammetry pipeline to capture 3D models from the environment with minimal user intervention for immersive, 3D experiences.

Project Material World – powered by Adobe Sensei

  • #MaterialWorld is a tool for image-to-material reverse engineering. It provides an intuitive material identification process that works under natural lighting, avoiding the need for complex capture setup or user inputs. This results in a digital texture so real you can almost feel it.

Project Physics Whiz

  • #PhysicsWhiz introduces a physics-based layout tool that combines a user’s intuitive sense of physical manipulation with the precision of digital tools to simplify object manipulation in 3D digital tools.

Project On the Beat – powered by Adobe Sensei

  • #OnTheBeatSneak identifies out-of-rhythm body movements and aligns them to generate beat-synced videos for the perfect dance video.

Project Comic Blast – powered by Adobe Sensei

  • #ComicBlast disrupts the way comics are created and consumed through efficient, collaborative, and intelligent design and technology paradigms that make comic book creation fun and 100x faster.

Project In Sync

  • #InSyncSneak streamlines the disconnected path from an XD file to a production-ready application. It allows designers to share information about the design and implementation, create a bridge prototype from XD, and quickly push to a production site.

Project 2D Plus

  • #2DPlus enables users to take 2D objects in Illustrator and make them instantly appear 3D. It is a set of features – dynamic shadows, attached shadows, auto-arrange, and graphic lighting, that come together to create 2.5D’ish looking outputs that graphic designers will undoubtedly love, saving a huge learning curve of understanding 3D apps.

Project Typographic Brushes

  • #TypographicBrushes combines users’ drawn stroke inputs, the choice of brush, and the typographic properties of the text object to brings paint style brushes and new-type families to life in seconds.

Project AR Together

  • #ARTogether brings to life a multi-user experience where everyone shares the same view of the physical space and virtual objects, and can author and share AR scenes without compromising the quality of the experience.

EXTRA CREDIT

Here’s a link to see video demos of each of these.

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Tip #1110: Multicam Keyboard Shortcuts

… for Adobe Premiere Pro CC

Tip #1110: Multicam Keyboard Shortcuts

Larry Jordan – LarryJordan.com

Multicam editing is all about efficiency. Keyboard shortcuts help.

Topic $TipTopic

Last week I presented a webinar on Multicam Editing in Adobe Premiere. As I was researching this, I discovered several little-known keyboard shortcuts that make multicam editing more fun. Here’s the list.

Multicam Keyboard Shortcuts

Shortcut What It Does
Shift + 0 Open/Close the Multicam Editor
E Jump the selected edit point to the playhead
1 – 9 If playhead is playing, cut between angles
1 – 9 If playhead is stopped, switch between angles
Control + 1 – 9 If playhead is stopped, cut between angles

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Tip #1115: Add a Cast Shadow – Manually

… for Apple Final Cut Pro X

Tip #1115: Add a Cast Shadow – Manually

Larry Jordan – LarryJordan.com

A cast shadow copies the source object, colors it black, then distorts it for position.

A translucent text title with a manually-created cast shadow.

Topic $TipTopic

We can use the Drop Shadow effect to create a variety of shadows, but sometimes, it’s more flexible to create one manually. Here’s how.

NOTE: In this example, I’m using text, but any object that is smaller than full frame will work.

  • Copy the image
  • Colorize it black.
  • Add a Gaussian blur.
  • Lower the opacity of the shadow to, say, 70%.
  • Enable Video Inspector > Distort and lean the shadow back to match the angle of the background surface.

Done. Sit back and enjoy your handiwork.

EXTRA CREDIT

In the screen shot, I lowered the opacity of the foreground clip to make the shadow a bit more obvious. For most things, that would not be appropriate.

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Tip #1114: A Simple Way to Add Depth to Text

… for Apple Final Cut Pro X

Tip #1114: A Simple Way to Add Depth to Text

Larry Jordan – LarryJordan.com

Rotating text or images on the Y-axis is a fast way to add the illusion of depth.

Square-on text (top). Text rotated 45° on the Y-axis using the Text Inspector.

Topic $TipTopic

An easy way to add depth to text is to rotate it on the Y-axis. (See screen shot.)

While Final Cut does not support 3D rotation of most objects, it does support 3D rotation of text.

In this screen shot, the text clip (700 point Harrington) was rotated 45° on the Y-axis in Text Inspector > Rotation.

Even better, this rotation is keyframeable, so you can animate this rotation while the rest of the clip is playing.

EXTRA CREDIT

The text size slider only goes to 300 points or so. To create larger text, enter a number in the field, rather than drag the slider.

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Tip #1109: Oversize Your Compound Clips

… for Apple Final Cut Pro X

Tip #1109: Oversize Your Compound Clips

Larry Jordan – LarryJordan.com

Compound clips do not need to match the frame size of your project

The text, in an overlarge compound clip, travels over the mountain shot in the project.

Topic $TipTopic

There’s no rule that says compound clips need to be the same frame size as your project. In fact, there’s a benefit when they aren’t.

In the screen shot, the 800-point Harrington text is contained in a large compound clip (2133 x 1200 pixels), which is edited into and stacked above the background clip in a 720p timeline.

NOTE: There’s no magic to these numbers, I’m just letting you know what I used.

By adding keyframes, it is easy to have the text travel through the frame.

NOTE: While this example uses text, a compound clip can contain text, clips, or a mixture of both.

The key idea here is to provide more animation options using a compound clip which is larger than the project frame size.

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Tip #1101: Breaking into Documentaries at 40

… for Random Weirdness

Tip #1101: Breaking into Documentaries at 40

Larry Jordan – LarryJordan.com

You don’t need to be young to be successful, but you do need a plan.

Jia Wertz (Image courtesy of NoFilmSchool.com.)

Topic $TipTopic

This article, written by Jia Wertz, first appeared in NoFilmSchool.com. This is a summary.

Filmmaking can be a tough industry to break into. And in Jia’s case, she thought it would be especially difficult in her 40’s. But just one year later, she has a documentary short screening at several film festivals and streaming on Amazon, a feature documentary that is in post- production, and a third in the planning stages.

Here are her key thoughts that she learned along the way.

  • Learn Everything You Possibly Can. I invested in a 6-week documentary filmmaking workshop, made connections with students and faculty, and attended every extra-curricular activity the program offered including elective evening courses, masterclasses, and additional shoots, and took every opportunity to ask questions and learn as much as possible.
  • Have a Rock-Solid Plan. Pick a subject or a topic you are very passionate about. Filming a documentary takes far too much time, money and resources for you to delve into something you won’t want to be working on for the next couple of years (or more).
  • Make Connections. Connect with professors, faculty, other filmmakers, festival programmers, and anyone else you come across in the industry, even other participants on Zoom calls. Getting involved in the community is key to keeping the momentum going, and getting organic word-of-mouth marketing for your film.
  • Be Smart About Your Film Festival Strategy. Treat it as a marketing campaign.
  • Lean Into the Transferable Skills You Already Have. I had absolutely no filmmaking skills last year. But I did have marketing and PR skills, extensive photography experience, and decades of experience managing large numbers of people. These skills were 100% transferable to filmmaking. Take advantage of whichever skills you have that can apply to the industry. You would be surprised at how many business skills—and not just creative skills—are required.
  • Market Yourself and Your Film. She provides a list of six techniques she’s found effective.
  • Ask for Referrals and Recommendations. Of course, when asking for referrals or anything else, think about what you can offer as well. Make yourself a resource for the people you are reaching out to. This will go a long way in building a long-lasting connection.

EXTRA CREDIT

The article provides more details and links to learn more.

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Tip #1100: What is a Showrunner?

… for Random Weirdness

Tip #1100: What is a Showrunner?

Larry Jordan – LarryJordan.com

The showrunner is the lead producer of a show from concept to marketing.

(Image courtesy of Vince Gilligan.)

Topic $TipTopic

This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This is a summary.

Take a look at the day-to-day of the all-important television or streaming program showrunner. What can you can learn from this multifaceted role? The show-runner is the lead producer on a film or video project who oversees every element of the project’s creation, from the initial pitch to the final edits and marketing.

Jourdan divides the roles of a showrunner into five categories — development, pre-production, production, post-production, and marketing. Let’s take a look at each.

  • Development: While not always the case, more often than not a showrunner is the one who comes up with the initial idea or inspiration for a program and begins the process of pitching it around and fleshing it out. Whether it’s to Hollywood producers, studio heads, or local television, the showrunner spends months — if not years — in development just trying to get the concept green-lit.
  • Pre-Production: Once the project is tapped to move forward, the showrunner begins to put together a core crew — including writers, director(s), cast and crew, and a group of fellow producers that will oversee everything from budgets to contracts to scripts and shooting schedules.
  • Production: Again, not every showrunner’s role will be the same. Some might be more hands off on the actual production, but there are plenty of examples of showrunners who also serve as directors or remain close to the day to day of production. With so much invested already, a showrunner makes sure production goes as smoothly — and correctly — as possible.
  • Post-Production: Depending on how a program is being shot and released, the post-production process could overlap with production. This requires a steady hand, as the showrunner guides individual episodes along toward broadcast/release while still keeping an eye on the rest of the season. Additionally, a showrunner’s post-production duties involve managing specialists like narrative editors and color experts while keeping tabs on things like sound design and graphics/VFX.
  • Marketing: Finally, the role of a showrunner doesn’t end once a program goes live. Instead, it takes on a new life of its own, as a showrunner would be highly invested in making sure the program is favorably reviewed and heavily marketed in order to finds its audience. From viral campaigns to television spots, a showrunner would work with their marketing team to do everything they can to help their show take off.

EXTRA CREDIT

The article, linked above has several videos with showrunners talking about their work, as well as a variety of links that go deeper into this subject.

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