… for Apple Final Cut Pro X

Tip #1470: Apple Releases Final Cut Pro 10.5.2

Larry Jordan – LarryJordan.com

This latest version is a bug-fix release.

The Final Cut Pro logo

Topic $TipTopic

Last week, Apple released Final Cut Pro 10.5.2. This is principally a bug fix release. Here’s what’s new.

Here are the Apple Release Notes

  • Adds support for a new Universal RED plugin enabling native RED RAW decoding and playback on both Apple silicon and Intel-based Mac computers.
  • Improves stability when playing back H.264 video files with corrupt data.
  • Fixes an issue in which text could disappear when double clicking a value field in the inspector.
  • Fixes an issue in which FCPXML files created from drop frame projects would import as non drop frame.
  • Fixes an issue that may prevent custom Motion titles stored inside the library from appearing in the Titles browser.
  • Improves stability when choosing the DPP/Editorial Services metadata view with MXF media.
  • Improves stability when using AirPlay with Final Cut Pro on a Mac computer with Apple silicon.

The folks at Digital Anarchy added the following notes to the upgrade:

Final Cut Pro 10.5.x uses a new version of the FCP plugin architecture (FXPlug4). The older plugin versions (FxPlug3) still works for now but these new builds of the plugins will be required at some point. They also add support for Apple’s Metal (replacement for OpenCL), the Apple Silicon machines and Big Sur (FxPlug4 and FxPlug3).

10.5.2 adds some bug fixes for FxPlug4, so we highly recommend you upgrade to this version if you’re using 10.5 or higher. 10.4.x will still use FxPlug3 plugins but you still want to download these releases as they add Big Sur support.


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… 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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… for Random Weirdness

Tip #1412: Frame.io’s “Camera To Cloud” Hardware

Larry Jordan – LarryJordan.com

The hardware is not inexpensive, but the possibilities are vast.

Tweaking a Sound Devices 888 during Frame.io’s launch event.

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.

Frame writes: “We believe camera-to-cloud will have a massive impact on the filmmaking industry at large — especially at a time like now, when filmmakers are trying to get back on set with fewer crew members; camera-to-cloud takes video village off-set for a completely safe way to produce films. ”

To make this happen requires a combination of Frame’s online secure review and comment platform with leading hardware companies to connect production tools with the cloud.

Frame partnered with three leading companies to make C2C possible:

  • Picture: Teradek
    designs and manufactures high-performance video solutions for broadcast and cinema. A Frame.io authenticated CUBE 655 encoder delivers live streams and camera proxy files directly into Frame.io.
  • Sound: Sound Devices
    designs and manufactures the world’s leading production sound field recorders. The latest 888 and Scorpio recorders capture and transmit original audio files directly into Frame.io.
  • Post: Colorfront has developed the world’s first fully cloud dailies platform. Their Express Dailies integration with Frame.io allows labs to instantly access the video and audio assets to create dailies.

As well, Frame published the API of their new system so that studios and developera can create their own custom workflows.

EXTRA CREDIT

  • Here’s the link to more developer information from Frame.
  • Here’s a link to the Frame.io website.

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… 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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… for Adobe Premiere Pro CC

Tip #1414: New Features in Premiere Pro

Larry Jordan – LarryJordan.com

Monthly improvements include faster audio rendering, exports and bug fixes.

The speed improvements (shorter is better) for the new audio optimization in Premiere (orange bars).

Topic $TipTopic

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)
  • Faster exports for H.264 and HEVC on macOS
  • Plus several bug fixes.

Learn more about changes in Premiere.

Premiere Rush

  • Performance improvements on iOS: optimizations deliver better battery life, less heating, and faster exports

Learn more about changes in Premiere Rush.


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… 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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… 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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… for Apple Final Cut Pro X

Tip #1417: Use Multiple Drives for Libraries & Media

Larry Jordan – LarryJordan.com

Final Cut has no problems accessing files stored on multiple drives.

Topic $TipTopic

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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… for Random Weirdness

Tip #1397: Shure Requests Dedicated Wireless Mic Channel

Larry Jordan – LarryJordan.com

Shure asks FCC to reconsider & dedicate channel to wireless mics.

The Shure BLX14R/B98 wireless system.

Topic $TipTopic

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.

More information is available on the Shure website.


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… for Random Weirdness

Tip #1399: DPP: Predictions for Media in 2021

Larry Jordan – LarryJordan.com

The media industry continues under heavy pressure. This report outlines key drivers.

The DPP logo

Topic $TipTopic

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:

  1. The purpose of the workplace will be redefined
  2. There will be market disruption and consolidation
  3. Unpredictability will be the new normal
  4. Security will become distributed
  5. Businesses will better assess both sides of the risk equation
  6. AI and automation will become pervasive across the supply chain
  7. Global will impact local
  8. 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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