The Timeline Index Captions pane is new – and a fast way to check captions.
The Timeline Index > Captions pane.
Here’s a fast way to see all the captions in your Final Cut Pro project, along with an equally fast way to correct them.
Here’s how this works:
Open the Timeline Index (Shortcut: Shift + Cmd + 2).
Click the Captions text button (lower red arrow in screen shot).
All captions in your project are displayed, along with their starting and ending timecode.
NOTE: This would be a good time to point out that the Timeline Index would be even more helpful if it could float outside the main FCP interface; say, to a second monitor….
To select a caption and jump the playhead to it, click the caption icon or name once.
To edit a caption, double-click it.
To change the position of a caption, use the same editing techniques you use for clips in the Timeline.
EXTRA CREDIT
While you can create multiple caption tracks for the same project, you can only have one caption track active at a time.
If you have multiple captions, say for different languages, go to Timeline Index > Roles and activate the caption track you need by checking it.
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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 Jordan2021-07-26 01:30:002021-07-23 16:44:01Tip #1808: A Fast Way to View Captions in Final Cut
Four YouTube videos filled with hidden tips and tricks.
Image courtesy of PremiumBeat.com
This article, written by Mike Maher, first appeared in PremiumBeat.com. This is a summary.
This article contains links to four YouTube videos showcasing hidden Premiere tips from:
Zach Ramelan
Film Bodega
Peter McKinnon
Cinecom
These cover editing, effects and workflow. The article linked above has more details on each video so you can watch the one that is most relevant to you.
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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 Jordan2021-07-20 01:30:002021-07-20 01:30:00Tip #1785: 24 Hidden Tips for Premiere Pro
The Olympics are legendary for their use of technology. This year is no different.
Logo of the 2020 Tokyo Olympics.
This article, written by George Winslow, first appeared in TVTechnology.com. This is a summary.
The 2020 Tokyo Olympics won’t have fans in the seats, but the games will be offering up a host of tech milestones that the organizers and broadcasters hope will keep audiences cheering at home.
This week, the Olympic Broadcasting Services, OBS, which will be producing a record amount of content for rights holders, came out with its own list of the top ten tech innovations for the Summer Games.
OBS will have a full native UHD HDR production, with 5.1.4 immersive audio (only the coverage of the seven outside Tennis courts will remain in HD). OBS has transitioned its contribution and distribution networks to an all-IP infrastructure to support the UHD HDR production workflow.
The games will see more content in more formats than ever before. OBS will produce additional Multi Clip Feeds (MCFs), as well as fast-turnaround sports highlights, short-form content and mobile-generated clips.
As part of its efforts to provide more content in more formats, OBS will also deliver a record 9,500+ hours of content in support of the rights holders’ multi-platform strategies.
New technologies being deployed include: Multi-camera replay systems (several sports); 3D Athlete Tracking (Athletics 100m) in partnership with Intel and Alibaba; True View (Basketball) in partnership with Intel; Biometric data (Archery) in partnership with Panasonic; Live and on-demand immersive 180° stereoscopic and 360° panoramic coverage (several sports); Virtual 3D graphics (Sport Climbing); 2D image tracking (several sports).
Remote production, both to ensure safety and to provide more coverage, is a big part of the tech game plan. OBS will cover the seven outside tennis courts, as well as certain press conferences, via remote production. The remote production gallery will be set up at the IBC.
Behind the scenes, in an effort to provide more flexible workflows that will allow it to deliver a much wider array of content in more formats to more platforms, OBS has rolled out a set of cloud-based solutions specifically designed for high-demanding broadcast workflows, called OBS Cloud, which allows for greater flexibility and remote production in partnership with Alibaba.
As part of its embrace of cloud and IP technologies, OBS has transitioned part of its broadcast workflows in the cloud. The OBS video server will be extended to the cloud with increased capacity and worldwide accessibility.
Amid growing concerns about climate change and carbon footprints, OBS has been looking for efficiencies in the design of the IBC, notably introducing mini data centres known as Centralized Technical Areas (CTAs).
OBS has introduced new positions close to the field of play and in back-of house areas at selected venues to help rights holders to engage their audience on social media.
OBS has created an innovative digital fan engagement suite, which allows remote viewers to interact with live events in Tokyo and right holders to connect athletes with their fans.
Here’s a link to a 62-page deep-dive into all the innovations at the Olympics. (Be patient, this can take a while to download.)
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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 Jordan2021-07-20 01:30:002021-07-20 12:10:21Tip #1804: Ten Tech Innovations at the Olympics
In simple terms, the broadcast footprint at the Olympic Games Tokyo 2020 will be 30 per cent smaller than it was at Rio 2016, while content production will be up by about 30 per cent. Add the fact that technology is enabling a host of new ways to tell the stories of the Games and you can see that Olympic Broadcasting Services (OBS) boss Yiannis Exarchos is excited about uncovering new opportunities.
This article was written by the International Olympics Committee (IOC). This is a summary.
The challenge of producing more than 9,000 hours of sports content over 17 days in the current climate is clearly very real. But, “you should never let the opportunity of a major crisis go unused and unexploited,” Exarchos said. “Look at the learnings and uncover every opportunity so that we do what we do in a way that is far less impactful for the environment and the host cities, but at the same time is exciting.”
“Technology provides this through the world of data, through the world of augmented reality, through the world potentially of virtual reality – all things we will try and start introducing in Tokyo and in the next Games,” Exarchos explained.
In content terms this means more coverage in different formats, with the needs of social media and digital outlets high on the agenda. For instance, Content+, a web-based platform primarily dedicated to short-form and digital content, will be far more prominent in Tokyo than ever before. “Broadcasters can use this content, repurpose it; they can practically do it from their mobile phones in the back of a car,” Exarchos said, smiling.
This focus will mean there will be far more behind-the-scenes coverage than ever before, with consumers getting a real insight into what it means to be an Olympic athlete. Not that innovations are limited to off-field action – Tokyo 2020 will also be the first Games coverage to be natively produced in 4K HDR, something Exarchos was “not sure could actually be done” just a matter of months ago.
“It’s not about consumption of technology,” the OBS boss explained. “It’s about experiencing a better way of telling the stories of the greatest athletes of the world.”
“The major thinking, and what we want them to do and help them to do, is reduce the presence [of broadcast staff performing work] that can happen anywhere in the world,” Exarchos stressed. “To be shipping servers and setting up equipment in a city for things that can happen on the cloud is one of the things we want to avoid.”
The entire article provides more details and is 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 Jordan2021-07-20 01:30:002021-07-17 09:05:11Tip #1805: The Challenge in Broadcasting the Olympics
Avid to provide content production and media management.
The logo for the NBC Olympics.
NBC Olympics, a division of the NBC Sports Group, has selected Avid to provide the content production and media management platform, tools and solutions for its production of the Games of the XXXII Olympiad, which take place in Tokyo, Japan, from July 23-August 8. The announcement was made by Darryl Jefferson, VP of Post Operations and Digital Workflow, NBC Sports & Olympics, and Jeff Rosica, CEO and President, Avid.
Over the past two decades, Avid has supported NBC Olympics in its ongoing technical innovation to present the American audience with state-of-the-art coverage of the Olympic Games. Building on their most recent success with platform-based media management workflows for the 2018 Olympic Winter Games in PyeongChang, NBC Olympics continues to use Avid’s MediaCentral systems for the Tokyo Olympics. To support expanded Olympic production from NBC Sports’ facility in Stamford, Conn., NBC Olympics will deploy Avid’s MediaCentral solutions to drive Tokyo-based remote and on-site workflows that will generate content for linear, OTT and social media platforms serving enthusiastic audiences in the U.S.
NBC Olympics is also using Avid NEXIS shared storage, Media Composer Ultimate and the Media Composer Cloud VM option to empower its team in multiple international locations, including editors based in Stamford, the International Broadcast Centre in Tokyo, and numerous Olympic venues, to connect and collaborate in real-time for content production and delivery.
Source timecode for three clips: two video and one audio. The gray clip indicated it’s disabled (V).
Recently, I’ve started recording my webinars using two sources: my screen and a camera pointed at my face. Why? Because I wanted to give myself a new editing challenge… and it’s good to see the person speaking. Here’s what I learned in editing these.
Telestream Screenflow is software I’ve used for years to record my webinars. It provides high-quality (ProRes 4444), is color accurate and easily exports to Final Cut for editing. (No, I don’t edit in Screenflow.)
Screenflow now has the ability to record both the screen and a webcam at the same time. So, while I don’t use my webcam for my live events, I do include video of myself in the download versions of my training. Telestream exports my video already scaled and positioned where I need it.
Here are three tips that I’ve learned in editing this extra camera:
The camera is consistently recorded 2 frames out of sync with the audio. This is easy to fix by sliding the camera clip two frames earlier. To make sure I don’t move it back I monitor the timecode of all clips in the timeline using Window > Source Timecode(see screen shot).
Because both clips need to be visible at the same time, I don’t create a multicam clip, but, instead, stack the clips vertically. Then, I enable or disable my on-screen video as needed.
Because the video is from my webcam, I do all color correction for this clip before I start editing. That way, I don’t need to color grade each individual clip when editing is complete.
I like the results and it doesn’t add that much more time to the edit.
One of the new timeline features Apple added recently to Final Cut is invisible, unless you know where to look. Here’s where it is and what it does.
Click the small white arrow to the right of the project name at the top center of the timeline (indicated by the red arrow in the screen shot).
Five choices present themselves:
Duplicate project. I strongly recommend you NOT use this. It causes problems with compound and multicam clips. Instead, Control-click the project name in the Browser and choose Shapshot Project.
Reveal Project in Browser. This displays the project in the Browser. (This is a good way to then use Snapshot.)
Project Properties. Another way to change the settings applied to a project.
Close [project name]. This closes the project in the timeline, but does not close the Library
Close Other Timelines. Final Cut supports multiple timelines open at once, though it only displays one at a time. Closing unneeded timelines frees up RAM.
Not all cloud-based editing is the same. This compares differences.
Blackbird’s “Video Editing in the Cloud” report.
This article, written by Jose Antunes, first appeared in ProVideoCoalition.com. This is a summary.
EDITOR’S NOTE: Blackbird focuses on workgroup editing, generally for live productions, more than individual edit stations.
Blackbird is a company that provides video editing in the cloud. Recently, they published a free report: “Video editing in the cloud: An analysis of the true Total Cost of Ownership.”
The keyword for Blackbird is “cloud-native”. Its solution, according to the company, is different from on premise video editing workflows adapted for the cloud, known as “cloud based”. You may think that cloud workflows are just that, cloud workflows, but Blackbird says otherwise, and the report now introduced by the company: Video editing in the cloud: An analysis of the true Total Cost of Ownership aims to examine how different cloud editing solutions are architected and how this reflects on the total cost of ownership for the customer.
As the report notes, “the urgent adoption of the cloud in the media production industry brought the prospect of flexible working, scalability, collaboration, security, quality control, loss prevention, efficient upgrading, analytics and lower carbon emissions. Once the cloud became the path through the pandemic, these benefits became tangible and it was clear that there was no way back.”
Now that the cloud is here to stay as a workflow option – an essential one, according to some -, another question must be asked: which type of cloud workflow is best? That’s where the report published by Blackbird might help. According to the company, “through independent research, the report highlights the hidden costs of traditional on premise video editing workflows adapted for the cloud, known as ‘cloud based’, when compared to cloud native Blackbird.”
Here’s the link to download free report. (PDF, no user information requested.)
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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 Jordan2021-07-16 01:30:002021-07-16 01:30:00Tip #1788: Costs of Video Editing in the Cloud
This article, written by Chris Zwar, first appeared in ProVideoCoalition.com. This is a summary.
Render times in After Effects can vary a lot. If you’ve been using After Effects for a while, you’ve probably had some projects that render quickly, and others very slowly. Sometimes it can be hard to pinpoint exactly why some projects render faster than others.
At a very basic level, there are four things which determine how fast After Effects will render a single frame. Firstly, there’s the resolution of the composition. Secondly, there’s the resolution of each individual layer in the composition. Thirdly, there’s the number of layers in the composition. Finally, there’s the bit-depth of the composition – which determines how much data is required to process each individual pixel.
More recently, Adobe has added a fifth new variable – Multi-Frame Rendering. This is a new feature, still in Beta development, that utilizes more than one CPU core to render multiple frames of a composition at the same time. Depending on your hardware, rendering can be more than twice as fast.
The video [in this article] covers all of the details, but it’s probably worth emphasizing that this is a relatively niche demonstration. I didn’t try changing the overall composition resolution, and having 920 layers in a composition isn’t something you see every day. The project only uses one effect, and yet it’s a great example of how simple changes to bit-depth and resolution can dramatically affect the amount of data that After Effects has to process in order to produce a rendered image.
The cloud is more than storage, it’s now media apps.
Image credit: Karl Paulsen
TV Technology reports that “A paradigm shift in media-production technologies is changing how the cloud is perceived, used, presented and applied to media production. The lines between ground-based and cloud-based media production are becoming blurred.” (This is a synopsis.)
This in-depth article, written by Karl Paulsen, starts by looking at cloud computing, an application-based solution known also as an “infrastructure in the cloud.” Cloud computing is divided into a front-end part and a back-end part. To the user, these details don’t need to be thoroughly understood—but it is helpful to know that the end-to-end ecosystem is changing so that acceptability of these differences can be evaluated and adopted.
Today, cloud providers offer hundreds of specific services ranging from compute and storage to cloud consulting (through partners) and management. Each provider aims to enable users to deploy their compute and storage requirements in the cloud offering various competitive platforms, all eager for users to experiment in any way conceivable.
The article covers media-specific and cloud forward applications and Cloud-based automation.
It concludes by saying: “Reliable, secure, scalable, protected and cost-effective media production—without the annoyances of managing a complex local infrastructure—is changing the face of media from one end to the other. Whether the production services are hosted in a public cloud, regional co-lo site or even in your own private data center, the concepts developed (and being perfected all the time) are real, available and are here today.”
EXTRA CREDIT
The article goes into more detail with interviews and illustrations.
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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 Jordan2021-07-13 01:30:002021-07-13 01:30:00Tip #1774: Media Production Shifts to the Cloud
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