Monthly improvements include faster audio rendering, exports and bug fixes.
Last week, Adobe released a few performance updates for Premiere Pro and Premiere Rush that are available immediately as part of Adobe’s monthly release cadence.
These updates include faster exports and audio filter improvements in Premiere Pro, and comprehensive performance improvements for Premiere Rush on iOS.
Premiere Pro
Audio Filter Performance Improvements in Premiere Pro: faster audio effect rendering delivers speed gains ranging from 20-80%; optimized audio effects include Analog Delay, Automatic Click Remover, DeEsser, DeNoise, DeReverb, Notch Filter and Mastering (see graph)
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-16 01:30:002021-02-16 01:30:00Tip #1414: New Features in Premiere Pro
Key to compressing a file into the H.264 codec is the Profile. These profiles determine the quality and format of the compressed file.
Apple Compressor, Adobe Media Encoder, Handbrake and other compression programs provide different profile options, which make a surprising amount of difference when you encode your media.
This software provides up to four options when choosing a profile:
Baseline
Main
High
High-10
NOTE: The H.264 spec defines 25 different profiles!, most of which require special software to access.
Baseline. This profile is principally used for low-bandwidth video conferencing and mobile apps.
Main. This profile is used for standard-definition TV. It should NOT be used for HD.
High. This profile is particularly designed for HD video, as well as Blu-ray Disc. It should also be used for any media you plan to archive.
High-10. This does everything the High profile does, plus adds support for 10-bit 4:2:2 media, which is required for HLG HDR.
Neither Compressor nor Handbrake support High-10. Adobe Media Encoder supports all four of the profiles listed here.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-16 01:30:002021-02-12 17:18:01Tip #1411: With H.264, the Profile Makes a Big Difference
When in doubt, encode H.264 media using the High profile.
I’ve said for years that H.264 is a limited codec – it doesn’t support frame sizes beyond 4K nor bit depths greater than 8-bit. But, recently I started wondering whether those statements are still true. So, I went to Wikipedia (linked below) to learn more.
H.264’s official name is AVC (for Advanced Video Codec). It is the most popular format for recording, compression and distribution in the world. (HEVC is #2.)
The H.264 standard can be viewed as a “family of standards” composed of a number of different profiles, although its “High profile” is by far the mostly commonly used format.
H.264 is the most commonly used format for Blu-ray Discs, where it is one of the three mandatory video compression formats.
According to Wikipedia, H.264 supports:
Frame sizes up to 8K, depending upon profile.
YUV 422 and 4:4:4 color sampling, depending upon profile
Stereoscopic 3D video
Depth maps
HLG HDR, provided the High-10 profile is used.
Color sampling and bit-depth support are determined by the profile used when encoding a file.
The High Profile, which is the most commonly used format, supports up to 4K images with 8-bit depth.
The High-10 profile supports 10-bit depth media, but not all software offers this option.
Only the High 4:4:4 Predictive Profile supports color sampling beyond 4:2:2 and bit-depths greater than 10-bit.
So, the answer to the question: “Does H.264 support HDR?” the answer is:
No, if you are using any of the H.264 profiles in Apple Compressor or Handbrake.
Yes, but only if you use the High10 profile in Adobe Media Encoder.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-16 01:30:002021-02-16 01:30:00Tip #1409: Does H.264 support HDR?
HEVC was designed to create smaller files, with quality equal to H.264.
I got into a conversation with Birdie about the uses of HEVC, which lead me into doing some more research.
In an earlier article, I wrote that HEVC was invented to decrease the load on cell networks, which was what I was told at the time. However, in reading Wikipedia, the initial development work for HEVC was done by NHK (a Japanese broadcaster) and Mitsubishi Electric (a consumer electronics manufacturer).
The work was started in 2004 to find a way to improve H.264 to support larger frame sizes than 4K and the greater grayscale and color range of HDR. A further goal was to cut files sizes by 50% while maintaining image quality equal to H.264. The tradeoff, though, was a more complex encoding/decoding process.
After several years of research, formal work on a spec began in January, 2010, with a request for proposals. 27 different proposals were submitted.
The standard was formally published by the ITU-T on June 7, 2013. Since then, it has been modified/upgraded five times, the last being version 4 on Dec. 22, 2016.
More than 12,000 patents are involved in this codec, in fact the MPEG LA HEVC patent list is 164 pages long! Making the roll-out more difficult was that several patent holders couldn’t agree on a royalty stream, so manufacturers were required to license from two different patent holding groups, with significantly different pricing, and unit sales requirements.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-16 01:30:002021-02-16 01:30:00Tip #1408: A Quick History of HEVC
Final Cut doesn’t have the same lighting controls that Motion does – and the lights in Motion are pretty amazing! However, there’s a very cool workaround: create a lighting effect in Motion using Drop Zones for the video (top of screen shot).
Then, save them as a Final Cut Generator.
You can then add those lighting effects into a Final Cut Project (bottom of screen shot) and apply, say, 3D text from within Final Cut.
This provides the best of both worlds: lighting effects created in Motion with the ease of editing and integration of Final Cut.
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https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-15 01:30:002021-02-15 01:30:00Tip #1419: Use Motion Drop Zones for Lighting Effects
The way 3D text in Final Cut Pro looks is extremely flexible. Not just with fonts and sizes, or even surface materials. Nope. The most useful settings are buried in the Lighting section.
Lighting Style. This changes the angle of the light hitting the text. There are about a dozen options to play with; I especially enjoy using Above, Below and Backlit.
NOTE: To make this lighting more pronounced, uncheck Environment.
Self-Shadows. This feature is unique to 3D text. This enables the shape of a letter to cast a shadow on itself or another letter next to it. I generally decrease Opacity and increase Softness.
NOTE: This setting is off by default.
Environment. This illuminates characters based on the choice you make in the Type menu. Experiment with different settings to see which ones you like.
Try selecting Colorful, then adjust the colors by changing the Rotation setting.
NOTE: For greater impact, set Lighting Style to Off.
EXTRA CREDIT
Intensity varies the amount of light radiating off the letters. While dimming the lighting is always possible, you can also increase the intensity – especially for very saturated colors – up to 400%. Ignore the slider and type in a value.
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https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-15 01:30:002021-02-15 01:30:00Tip #1418: What Do the 3D Text Lighting Controls Do?
Final Cut has no problems accessing files stored on multiple drives.
Here’s a question I get asked a lot; this example is from Berta:
“Using FCP X, can I save my library and project files to one external drive while using a second external drive to retrieve the original 4k media?”
The answer is: Yes, with a caution.
As you know, media files are large and require significant bandwidth (data transfer speed from storage to computer) to play smoothly. As long as your drives are large enough to hold your media and fast enough to play it – generally Thunderbolt speeds – using multiple drives is fine.
NOTE: If you are getting dropped frame errors, that means that your storage is too slow.
For my webinars, my media is stored on either a server or a RAID, while my libraries are stored on a separate drive. Final Cut has no problem keeping track of multiple files stored on multiple drives.
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https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-15 01:30:002021-02-12 17:07:10Tip #1417: Use Multiple Drives for Libraries and Media
The media industry continues under heavy pressure. This report outlines key drivers.
The DPP, a London-based think-tank focused on media, published its annual predictions for 2021. The DPP 2021 Predictions, enabled by DPP member company Zixi, were drawn up by more than 30 senior leaders from across the DPP membership. They paint a picture of an industry focused on survival and redefinition.
The full report is available – free – to anyone interested. Here’s the link.
The top eight predictions are, in order:
The purpose of the workplace will be redefined
There will be market disruption and consolidation
Unpredictability will be the new normal
Security will become distributed
Businesses will better assess both sides of the risk equation
AI and automation will become pervasive across the supply chain
Global will impact local
Businesses will understand and manage data through the value chain
These are some key take-aways:
It is difficult to overstate the extent to which new ways of working currently dominate the thinking of senior media executives.
The elephant in the room is that some companies won’t survive this year
“I think where we are right now is quite difficult to predict as well. For me the only predictability is that there’s big changes coming up.”
“It’s hard to understand what we need to do, because I don’t know what consumers want. And that’s tied up with not knowing what COVID is going to do to us, right? But the point is, it’s going to change what we all have to do. Because when the floodgates are open, consumers are going to stop watching your network and my network, and they’re going to be just desperate to get out of that house. So then how do we adapt to that?”
Things are risky – but not doing anything is also risky.
What was striking about the views expressed this year was the observation that 2021 will be the year in which we see AI beginning to impact the whole media supply chain – including production.
:While our technology has accelerated, the cyber threats have also increased at speed. We are way more at risk now we have these remote workforces. We had an incident recently and it was just the craziest two weeks watching that unfold and dealing with how we responded. We just weren’t set up to do it. And the effect of that is that we know we’ve got to up our approach and response.”
What perhaps was most striking about this year’s discussion was the degree of unanimity. This may in part come from every company, of every kind, sharing the common experience of the pandemic – and every company, of course, being obliged to work remotely.
But that remote working has not only brought extraordinary changes to work culture. It has also led almost all companies to turn to virtualisation and the cloud. Technology and operations have been abstracted from physical locations, and companies
– whether content providers or suppliers – have become much clearer about the opportunities and challenges this change represents.
The entire report is free and well worth reading.
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https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-12 01:30:002021-02-12 01:30:00Tip #1399: DPP: Predictions for Media in 2021
All 93 Creativity Conference sessions are now online and free!
The first-ever Creativity Conference 2021 premiered last month with 93 presentations and panels covering a full range of the creative arts.
Produced by Maxim Jago, these sessions are now free and posted online. I had the pleasure of presenting a session, as well as hosting a panel. These conference sessions were described as “the finding of a family or, better yet a clan, that many did not know they were searching for but immediately recognized.”
These replays are rather basic but include the benefit of displaying a clickable transcription (click to move the video playhead to that section of the recording) and the chat window.
In time, conference organizers hope to migrate to a more beautifully presented version (probably) on Vimeo.com, which all attendees will be able to access as a library of content.
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https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2021-02-12 01:30:002021-02-06 11:17:10Tip #1398: Creativity Conference Now Online
Shure asks FCC to reconsider & dedicate channel to wireless mics.
Shure Inc. has filed a petition with the Federal Communications Commission asking the agency to reverse its decision and guarantee that at least one 6 MHz UHF channel in each market be reserved for wireless mic use.
The company told the FCC that now more than ever wireless mic users need clear spectrum. On one hand, reallocation of 600 MHz spectrum for mobile phones and the repack of stations into 500 MHz spectrum has reduced available spectrum. On the other, continued growth of broadcast, performance and sports production is requiring more wireless mic channels than ever, Shure said.
Without clear spectrum for wireless mic use, the integrity of a variety of productions, ranging from professional sports and concerts to live TV and theater, will suffer, Shure said.
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