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Tip #1410: Frame.io Launches “Camera To Cloud”

… for Random Weirdness

Tip #1410: Frame.io Launches “Camera To Cloud”

Larry Jordan – LarryJordan.com

Camera To Cloud: Live upload from on-set cameras to anywhere in the world. Instantly.

Behind-the-scenes at the live Frame.io launch event on the Paramount lot.

Topic $TipTopic

Frame.io last Thursday launched Frame.io Camera to Cloud (Frame.io C2C). This new workflow lets customers instantly upload and stream images from on-set cameras to creative post-production teams anywhere in the world.

According to Frame: “Frame.io C2C is a breakthrough technology that brings IoT to Hollywood (or any) film sets, catalyzing major changes in the way movies are created. Frame.io C2C has already been piloted for the recent Michael Bay thriller, “Songbird,” the first major Hollywood picture to be allowed to go into production under tight quarantine restrictions. While Frame.io C2C was not created in response to Covid, the pandemic largely accelerated the need for this remote working technology, and has already helped filmmakers get safely back to work.”

This new technology speeds the creative process with key benefits of:

  • Instant off-set access to what is being filmed, from any location and any device (iPhone, iPad, etc.), as it’s being filmed.
  • More time and budget for creativity eliminating typical turnaround times for feedback and editing.
  • Enabling a hybrid or fully remote workforce, giving film sets access to the world’s best talent regardless of their location

EXTRA CREDIT

  • View the Frame.io launch event here.
  • Here’s a link to the Frame.io website to learn more.

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Tip #1429: Blackmagic Announces New Gear

… for Random Weirdness

Tip #1429: Blackmagic Announces New Gear

Larry Jordan – LarryJordan.com

New gear targeted at higher-resolution video and live streaming.

Blackmagic Design Pocket Cinema Camera 6K Pro

Topic $TipTopic

On Wednesday, Blackmagic Design announced several new products, including a new 6K camera. Here’s what they announced.

Pocket Cinema Camera 6K Pro ($2,495, available now): A new more powerful model that includes features for high end digital film. This new model includes a brighter 1,500 nit adjustable HDR touchscreen screen, built in ND filters, larger battery, plus support for an optional electronic viewfinder. This model also includes latest generation 5 color science, Super 35 HDR image sensor with 13 stops of dynamic range, dual native ISO of 25,600 and a popular EF lens mount.

Link: Technical Specifications

ATEM Mini Extreme ($995, available now) ATEM Mini Extreme ISO ($1,295, available now): ATEM Mini Extreme is a new massively larger model of our ATEM Mini live production switcher. This new model is our most advanced 1 M/E switcher that features 8 inputs, 4 ATEM Advanced Chroma Keyers, a total of 6 independent DVEs, 2 media players, 2 downstream keyers, 16 way multiview, 2 USB connections and multiple HDMI aux outputs. There is also a new ATEM Mini Extreme ISO model which includes all these powerful features plus a more powerful recording engine that can record all 8 inputs plus the program for a total of 9 streams of recording. Both new models include a broadcast quality streaming engine for live streaming to YouTube, Facebook, Twitter and more.

Link: Technical Specifications

Blackmagic Web Presenter HD ($495, available now): A self-contained streaming solution that includes a broadcast quality H.264 processor for direct streaming to platforms such as YouTube, Facebook, Twitter and more. The new Web Presenter HD is a compact design that includes a 12G-SDI input with down converter, so customers can connect to HD or Ultra HD equipment and stream in full 1080p video. Also included is a built in front panel with LCD and menus, USB webcam features, plus a unique monitoring output with audio meters, streaming status and full SDI and embedded audio technical details.

Link: Technical Specifications

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Tip #1407: How to Enable Shadows From Lighting

… for Apple Motion

Tip #1407: How to Enable Shadows from Lighting

Larry Jordan – LarryJordan.com

Shadows cast by lights are the most flexible and believable.

Shadow options for Directional, Point and Spot lights.

Topic $TipTopic

(I discovered this tip while researching a recent PowerUP webinar illustrating Lighting Techniques of Apple Motion 5.5.)

One of the big benefits to adding custom lights to a Motion project is the ability to easily create cast shadows.

NOTE: One of the benefits of creating shadows with lights is that the shape of these shadows changes based on the geometric relationship of the background to the foreground.

To enable shadows:

  • Select a custom light.
  • Go to Inspector > Lights and check the Shadows checkbox.
  • Click Show to reveal shadow options:
    • Opacity. The darkness of the shadow.
    • Softness. The blurriness of the shadow’s edge.
    • Uniform Softness. When checked, the edges of all shadows are equally blurry. When unchecked, shadows closest to the foreground object (say, text) are sharper than shadows farther from the casting object.
    • Color. The color of the shadow.

EXTRA CREDIT

All lights have the same shadow options, except for Ambient lights which do not cast shadows. Shadow settings can be key-framed.

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Tip #1406: Lighting Can Bog Down Your System

… for Apple Motion

Tip #1406: Lighting Can Bog Down Your System

Larry Jordan – LarryJordan.com

Lighting is render-intensive. Here’s how to turn it off temporarily.

The Render menu, with the Lighting option highlighted.

Topic $TipTopic

(I discovered this tip while researching a recent PowerUP webinar illustrating Lighting Techniques of Apple Motion 5.5.)

Lighting in Apple Motion is very render-intensive, especially for older systems.

If you find yourself unable to play a Motion project, or it plays very slowly, turn off the lighting until you are ready to export.

To do so, go to the Render menu in the top right corner of the Viewer (Canvas) and uncheck Lighting. This displays your project using a generic ambient light which any computer can display easily.

EXTRA CREDIT

If you export a file or still frame, even if rendering is turned off, Motion will render the file using the correct lighting.

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Tip #1405: Four Ways to Light in Motion

… for Apple Motion

Tip #1405: Four Ways to Light in Motion

Larry Jordan – LarryJordan.com

Lighting in Motion is like lighting in real life; lots of creative options.

A spot light (red area) with a very dim ambient light filling in the rest of the set.

Topic $TipTopic

(I discovered this tip while researching a recent PowerUP webinar illustrating Lighting Techniques of Apple Motion 5.5.)

The default light for Apple Motion is “ambient.” This means that the light is white and illuminates everything in all directions equally.

However, we can add custom lighting to any Motion project from the Object menu. When we do, the default lighting is turned off and we can choose between four different lighting types:

  • Ambient. Just as the default setting, this illuminates everything equally in all directions. However, unlike the default, we can change the color and intensity of the light.
  • Directional. This shines the light in a specific direction (up, down, left, right). However, changing the position of the light has no impact. We can also change the color and intensity of this light.
  • Point. This is the default custom light. This light is like hanging a bare bulb from the ceiling, it has position, but the light flows evenly in all directions. We can change the color, intensity and falloff of this light.
  • Spot. This is the most flexible light. Similar to a Leko light in a theater, we can change the position, direction, color, intensity, light angle, edge softness and falloff of this light.

EXTRA CREDIT

We adjust light settings by selecting the light, then using the Inspector. There is no limit to the number of lights we can add to any Motion project.

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Tip #1422: What’s the Best Way to Show Screens?

… for Visual Effects

Tip #1422: What’s the Best Way to Show Screens?

Larry Jordan – LarryJordan.com

Screens are everywhere; we need to find ways to integrate them.

Still from R#J. Courtesy of Sundance Institute | Photo by Charles Murphy.

Topic $TipTopic

This article first appeared in NoFilmSchool.com. This is a summary.

Screens are the cigarettes of 2020s cinema, and we’re not going to quit anytime soon. Better figure out how to make the most of them!

As human beings, our daily reality has pretty much fully merged with our screens. Sure, it’s weird that we now have to think of creative ways to show an image of a 2D screen on a 2D screen. It’s almost more weird to purposely exclude phone screens from a story that’s set in the present day. It’s become a quintessential part of daily life. Do we go out of our way to make films without mentioning screens? Or do we find the best, most cinematic way to weave screens into our stories?

Here’s a look at five films at Sundance 2021 that took completely different approaches to screens on screen.

We’re All Going to the World’s Fair

We’re All Going to the World’s Fair moves from computer screens to Skype calls to handheld cameras, and the occasional production camera to paint a picture of a young girl (and her online friend) who is completely absorbed in one small corner of the internet.

R#J

A re-imagining of Romeo and Juliet, taking place through cell phones, in a mash-up of Shakespearean dialogue with current social media communication.

Searchers

The unusual way that Pacho Velez decided to shoot Searchers was to find a way for them to look into the camera as if they were looking through their phone or computer to swipe right—or left!

All Light Everywhere

All Light Everywhere focuses on surveillance as the main device to examine human bias, so naturally, surveillance camera footage and bodycam footage play a central role on screen. “[The camera] changes the person being filmed, and it changes the person who is doing the filming, and I’ve always been interested in that process,” said director Theo Anthony.

Users

Okay, this documentary isn’t strictly a rumination on screens, but the ever-present role of technology in our lives. The camera becomes much the POV of an all-seeing, all-knowing technological God to redefine the perspective of ourselves in the digital age.

The article provides more details, extended interviews and screen shots.

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Tip #1421: Tips for Editing Better Trailers

… for Visual Effects

Tip #1421: Tips for Editing Better Trailers

Larry Jordan – LarryJordan.com

Trailers are the way we catch the attention of viewers today.

Image courtesy of Pixabay, via Pexels.com.

Topic $TipTopic

This article first appeared in MotionArray.com. This is a summary.

Trailers have always been an important part of film promotion, but when the era of internet video swept in, trailers became their medium. We now live in a world where a 1- to 2-minute video is exactly what people like to consume, and because of this trailers are created for everything from films to products to events.

Here are some tips to improve your next trailer.

  • Tell A Story. Don’t give everything away, but tell a story that your viewer can get behind.
  • Set The Pace. In many scenarios, fast pacing is the way to go with a trailer. There isn’t a lot of time, but there is a lot of information to convey, so keeping things moving will help you along.
  • Choose Your Words. Use text on the screen, but choose your words wisely. Short and punchy wins.
  • Get Graphic. Graphics can help keep an edit moving and create a common visual thread throughout.
  • Music Matters. We say over and over again that music plays a key role in visuals.

The article has several demo videos and more details on each of these points.

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Tip #1420: Virtual Production Takes Big Step Forward

… for Visual Effects

Tip #1420: Virtual Production Takes Big Step Forward

Larry Jordan – LarryJordan.com

Game design intersects with production using LED monitor walls.

Baby Yoda, surrounded by an LED wall, with images created with Unreal Engine. Image courtesy of Disney.

Topic $TipTopic

This article, written by Trevor Hogg, first appeared in VFXVoice.com. This is a summary.

Traditionally, movies and television shows have been divided into three stages consisting of pre-production, production and post-production; however, the lines are blurring with the advancements in virtual production. A great deal of interest was generated with what Jon Favreau was able to achieve utilizing the technology to produce The Mandalorian. Interest turned into necessity when the coronavirus pandemic restricted the ability to shoot global locations. If you cannot go out into the world then the next best thing is to create a photorealistic, computer-generated environment that can be adjusted in real-time. Will virtual production be a game-changer that will have lasting impact?

Scott Schambliss, Production Designer:

“One of the best qualities of our medium is its essential plasticity. By replacing traditional bluescreen/greenscreen tech with LED display walls, a stage working environment is dramatically enhanced by its chief gifts of interactive practical lighting and directly representative motion picture backgrounds the screens display in-camera for shooting purposes. For sci-fi and fantasy projects these advances are major and practical additions.”

Scott Meadows, Digital Domain:

“We recently had a client in the middle of reshoots when COVID hit. We had several props and CG characters, and our team put together some blocking animation that we added to Unreal Engine. Within a day, we had everything we needed for the filmmakers to do whatever they wanted within the scene. For the actual shoot there were only seven people present, with the director, editor, VFX Supervisor and Animation Supervisor all calling in remotely.”

Sam Nicolson, Stargate Studios:

“Virtual production is the new Wild West of the film business where the world of game developers and film producers are merging. From photoreal avatars to flawless virtual sets and extensive Unreal worlds, the global production community has embraced the amazing potential of virtual production as a solution to many of the production challenges facing us during the current global pandemic.”

The article also interviews:

  • Adam Myhill, Unity Technologies
  • Paul Cameron, Westworld
  • Alex McDowell, Experimental Design
  • David Morin, Epic Games Los Angeles Lab
  • Christopher Nicols, Chaos Group Labs
  • Nic Hatch, Ncam
  • Ben Grossman, Magnopus
  • Rachel Rose, ILM

There are images and much longer quotes in the article.

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Tip #1416: Tips to Export HDR Media

… for Adobe Premiere Pro CC

Tip #1416: Tips to Export HDR Media

Larry Jordan – LarryJordan.com

In both cases, uncheck Profile to gain access to the right compression settings.

The Main 10 profile, when HEVC is selected as the compression format.

Topic $TipTopic

If you are working with HDR (High-Dynamic Range) media, deciding how to export it can be tricky.

Normally, you’d probably export a high-end ProRes file to maintain the 10-bit depth that HDR requires for both extended color and gray-scale. However, you can also use H.264 or HEVC. Here are key settings.

H.264

  • H.264 only supports the HLG format for HDR. When exporting make sure to set the Format menu (at the top) to H.264.
  • Then, uncheck Profile and set it to High10.

NOTE: All the other H.264 profiles only support 8-bit media.

HEVC

  • HDR in HEVC requires you use the 10-bit setting. Set the Format menu to HEVC (H.265).
  • Then, uncheck Format and set it to Main 10.

However, most computers do not support hardware accelerated 10-bit compression, so expect the output to take several hours to complete.

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Tip #1415: Bugs Fixed in 2021 Premiere Updates

… for Adobe Premiere Pro CC

Tip #1415: Bugs Fixed in 2021 Premiere Updates

Larry Jordan – LarryJordan.com

Adobe continues their push to improve stability. Here’s what they fixed recently.

The Adobe Premiere Pro logo.

Topic $TipTopic

Adobe continues their push to improve the stability of Premiere Pro. Here’s the list of bugs they fixed in the February, 2021, update to Adobe Premiere Pro:

  • Fixed issue with Durations when seeting minimum values in the Essential Sound panel
  • Fixed issue with rolling edits when rulers are displayed in the Program Monitor
  • Improved stability when sending sequence with Essential Sound Panel effects to AU
  • Fixed issue with contextual menus and Track resizing when renaming tracks
  • Fixed issue where Extensions were displayed as greyed out
  • Fixed issue where Ghosts projects were created when saving in some virtualized environments

Here’s what was fixed in the January, 2021, update to Adobe Premiere Pro:

  • Home screen panels don’t resize correctly with high resolution displays.
  • Improved stability when quitting immediately from Home Screen.
  • Marquee selection fails to select video track.
  • Images are squeezed horizontally when scaled below 50% in non-square pixel aspect ratio sequence.
  • Media Browser icons appear incorrect on macOS Big Sur.
  • Block noises when importing some Canon MP4 files.
  • Application may hang when changing playback setting to software only with ProRes RAW on macOS.
  • DVCPro HD file fails to import.

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