I seem to do most of my blogging when I'm at home sick. Well now that I've got a cold, here's a backlog of interesting links on the web.
MacWorld Review: AppleJack 1.5
This is a piece of shareware for servicing your ailing Mac. It's a command-line utility, that helps simplify running some commands that can help fix your Mac. Includes a copy of memtest, which does a thorough check of your memory that helps diagnose bad RAM.
MacWorld First Look: boxee
boxee is an application for accessing digital media that is on your computer and on the internet. It's in alpha right now (I've run into quite a few bugs). But it's a promising concept that illustrates well the future of TV. It's got a 15-feet interface, so you can sit back on your couch and control the app with your Apple Remote. Lets you access Hulu (watch The Daily Show, 30 Rock) and (just added) Netflix support. So you can use the boxee interface to navigate and watch Netflix video that's in your Instant queue (oh, that's something that NetFlix recently allowed on Mac's--you don't need boxee to do that.) boxee runs on Mac's, Linux, and on Apple TV. You can sign up to get into the alpha release or ask a friend for an invitation. I wish Apple TV had this functionality built-in--Apple needs to up their game if they want to stay competitive with hardware and software for entertainment in the living room.
Digital Rebellion: How to keep your job as an editor
This article cover some technical gotchas that will mar your work and how to fix/avoid them in FCP. It goes over my current pet peeve--incorrect field dominance. I've been seeing more and more of this recently. Unfortunately, DV video uses a standard, lower-field dominance, that is very rare in video. Most other formats, like HDV, are upper-field dominant. You can run into a lot of problems when you mix formats in a timeline like DV and HDV. All of this is made more complex because anyone working in HD is probably not using a display that is interlaced--so it's easier to miss these problems. That's one reason why I'm not going to give up on my CRT any time soon--you've got to be checking for interlacing issues.
AppleCare Articles
Convert MP3 and AAC audio files for compatibility before importing
I've run into some weirdness recently with 44 KHz audio files in FCP--if they get rendered then the audio is from a different part of the track then it should be. Solution: convert the audio file to 48 KHz as described in this article.
Creating an Easy Setup for capturing DV with 32 kHz audio
Speaking of audio issues... For those of us still working in DV, once and a while you'll run into some audio at 32 KHz, instead of the usual 48 KHz.
Restoring a DV device connection in QuickTime 7
Can't say I've ever done this, but I've definitely run into issues with DV device connection in FCP. Maybe this will do the trick for you.
A couple of good lists of video tools:
Final Cut User: My Compression Tools
The DV Show: Big List of Video & Audio Converters Mac, PC, and online applications and tools
slashCAM: HD Camcorder Comparison
Looking for a new camera below $10K? This is a great resource. A giant database of specs that you can access in a comparison layout. Also has test shots, and some review info.
Vincent Laforet: 7 DAYS, 7 SHOOTS - EOS 5D MKII
A very beautiful-looking video shot with a Canon digital SLR camera. I haven't been blogging about video on DSLR's--there are a lot of pitfalls to this approach. But check out the video, just to get a sense of how pretty low-cost video could look.
Larry Jordan: Fixing Fluorescent Flicker
This is a nasty problem that I've seen a lot in footage that comes from developping countries. It's caused by cheap fluorescent lighting (can't say I've ever seen it in footage from the States.) This solution won't fix every bad shot, but it could help.
Kensington Mice and After Effects CS4
Oh, we've got a copy of Adobe Production Premium CS4 in house. I'm excited to check out the new 3D features (including real 3D models). One new 3D feature relies on a 3-button mouse. This article helps you set up your current mouse to work as a 3-button input device.
Studio Daily Blog: Multiuser
This looks like a handy piece of software that will set up different user settings on the same computer.
FxFactory Freebies: Pan and Zoom
A free plug-in for FCP. Looks good for stills. I'd avoid applying this to standard-def footage, as SD footage looks like crap when it gets scaled up (especially if it's interlaced.) But I'm much more open to zooming in on HD footage. Just make sure that you capture your HDV footage as native HDV and that the deck isn't downconverting it over firewire. (Caveat: watch out for our old-frenemy interlace flicker if you put your HDV footage in a DV sequence.)
Showing posts with label After Effects. Show all posts
Showing posts with label After Effects. Show all posts
Thursday, December 4, 2008
Tuesday, October 21, 2008
October Blogwad
"3D Objects from Photoshop in After Effects CS4"
Adobe CS4 is shipping. The thing that most interested me is you can have 3D objects in After Effects. There are a number of limitations on this. This little video shows you the basic of working with 3D objects and discusses the limitations in After Effects (the biggest for me is objects don't respond to lighting in After Effects.) More new features described here.
"Top 10 things you didn't know about the new MacBook"
New MacBook and MacBook Pro's were announced. Each model lost a Firewire 400 port. That leaves the MBP with one FW800 port, but the MacBook with no Firewire port and no way to add it. Some good things about the new laptops too (besides looking really slick.)
"Final Cut Pro: Free plugins to make all fonts available"
Why by version of 6, Apple still hasn't fixed this I don't know. But here's a text plug-in that is supposed to let you use all of your fonts in FCP.
"Final Cut Pro: My free Closing Credits plugin"
From the same guy who made the type plug-in above. The cool thing about this is that it lets you control the lines per second speed of your scroll. I basically almost always use one speed for credit rolls--120 lines pers second. (To know why read from Adam Wilt here). I do keyframe animation of Title 3D to do this, but it's a pain. This plug-in is an easier way to get the speed right, but you lose all the nice type editing features of Boris 3D.
"Build your own affordable SAN -- that works!"
Remember my crazy idea to use Jonathan's computer to build a SAN. This is where I got the idea. I'd still like to do it, but nobody wanted to give me $3K to play around with this, instead of letting editors use the computer.
"What to do if you lose your Pro App serial number"
Title says it all.
"Final Cut Pro Audio Filter Guide Part 1"
"Final Cut Pro Audio Filter Guide Part 2"
Bone up on FCP's audio filters with these helpful articles. Basically they describe what the various sliders do for the filters. However, if you're like me and not an audio person and you don't know what you are doing, then you will probably make your audio sound worse by playing around with filters. On the other hand, I learned the little I know about audio mainly by playing around with filters.
My current favorite filter is Soundtrack Pro's limiter. It works much better than the limiter in FCP. But it's a pain to export to Soundtrack Pro and reimport. It really makes sure that your peaks aren't out of control and cuts off all sounds at a consistent level without distorting it. I usually set it to -10 limit with a +10 boost.
"Another electronic slate for the iPhone"
"Finally a few timecode calculators for the iPhone"
Rejoice iPhone owners (and iPod Touch owners.) Video-centric apps for your iPhone.
"Anything Worth Backing Up…"
Good thoughts on backup strategies and technologies.
"All About Video Fields"
For extra credit, read this long, tech-y article on fields. Written from the perspective of a software engineer, but all the issues come up for video editors too.
Adobe CS4 is shipping. The thing that most interested me is you can have 3D objects in After Effects. There are a number of limitations on this. This little video shows you the basic of working with 3D objects and discusses the limitations in After Effects (the biggest for me is objects don't respond to lighting in After Effects.) More new features described here.
"Top 10 things you didn't know about the new MacBook"
New MacBook and MacBook Pro's were announced. Each model lost a Firewire 400 port. That leaves the MBP with one FW800 port, but the MacBook with no Firewire port and no way to add it. Some good things about the new laptops too (besides looking really slick.)
"Final Cut Pro: Free plugins to make all fonts available"
Why by version of 6, Apple still hasn't fixed this I don't know. But here's a text plug-in that is supposed to let you use all of your fonts in FCP.
"Final Cut Pro: My free Closing Credits plugin"
From the same guy who made the type plug-in above. The cool thing about this is that it lets you control the lines per second speed of your scroll. I basically almost always use one speed for credit rolls--120 lines pers second. (To know why read from Adam Wilt here). I do keyframe animation of Title 3D to do this, but it's a pain. This plug-in is an easier way to get the speed right, but you lose all the nice type editing features of Boris 3D.
"Build your own affordable SAN -- that works!"
Remember my crazy idea to use Jonathan's computer to build a SAN. This is where I got the idea. I'd still like to do it, but nobody wanted to give me $3K to play around with this, instead of letting editors use the computer.
"What to do if you lose your Pro App serial number"
Title says it all.
"Final Cut Pro Audio Filter Guide Part 1"
"Final Cut Pro Audio Filter Guide Part 2"
Bone up on FCP's audio filters with these helpful articles. Basically they describe what the various sliders do for the filters. However, if you're like me and not an audio person and you don't know what you are doing, then you will probably make your audio sound worse by playing around with filters. On the other hand, I learned the little I know about audio mainly by playing around with filters.
My current favorite filter is Soundtrack Pro's limiter. It works much better than the limiter in FCP. But it's a pain to export to Soundtrack Pro and reimport. It really makes sure that your peaks aren't out of control and cuts off all sounds at a consistent level without distorting it. I usually set it to -10 limit with a +10 boost.
"Another electronic slate for the iPhone"
"Finally a few timecode calculators for the iPhone"
Rejoice iPhone owners (and iPod Touch owners.) Video-centric apps for your iPhone.
"Anything Worth Backing Up…"
Good thoughts on backup strategies and technologies.
"All About Video Fields"
For extra credit, read this long, tech-y article on fields. Written from the perspective of a software engineer, but all the issues come up for video editors too.
Saturday, May 17, 2008
Final Cut Server--Extra Credit
I did a big post on Final Cut Server last month. If you have not read it, please do. It covers what FC Server is and also lays out how we could use it at Link. This article is extra credit for folks who are really interested in the software.
I went to a presentation on Final Cut Server. It was hosted by Advanced Systems Group. They had a guy from Apple there to talk about the software. Then another guy gave a spiel about how you really want an expert to set up and customize FC Server. They gave some examples where you'll want an expert--setting up a web interface to videos, interacting with automation/playout servers.
One thing I realized at the presentation is that our metadata situation with our Final Cut projects is poor to useless. I know I rarely label clips with helpful info. I try to name projects accurately with the title of a project, but sometimes I don't get it right or the project name changes. Even tape numbers are not always entered or done so accurately. What's the point of having a giant database if you can't search with confidence that you'll actually find what you are looking for? Not to mention an ideal functionality like having files indexed with useful metadata so you could do keyword searches, say "insurgent attacks" and get some dramatic footage from Mosaic.
At our office editors usually haven't collaborated. I usually took an attitude of "if I can find it/figure it out, that's all that matters." But that kind of attitude is the opposite of what's needed for asset management. Extra work needs to go into getting good metadata with your media. Since we don't have the option of hiring a librarian to organize things, that means more work for the editors probably who have to have bought into the process. If they haven't then things will slack off and the metadata won't get entered.
While Final Cut Server does everything that I wrote about in my last post on it, the Apple guy and the ASG folks were really pushing that you have to have an expert to set it up. I think I could get it to do everything that I discussed in my last post with the caveat about searching through poor metadata.
We've talked about hosting media from Mosaic on the web. Again, FC Server won't do this on its own. But it seems like it would be a good spot to organize that media. Then with automation scripting in FC Server, you could hand off the media to a website that handles the front-end, movie hosting, etc. FC Server would be where staff would import media and attach metadata to make it useful for users. FC Server could automatically hand it off to a system to handle the web part with scripting done by somebody knowledgeable.
Below are the notes that I took at the session:
Once a project is imported into FC Server you need to check in and check out. If you keep a copy locally and work with it again after import, then FC Server will think it's a new file when you try to put it back into FC Server. So basically it adds an extra step to opening a project--you have to check it out of FC Server first. Then you have to check it back in to get it to FC Server to update the media for it. Looks like more work for the editor, who has to have bought into the process--otherwise, he or she will just keep everything locally.
Showed a cool video about Radical Media
Translation done in China and FC Server handled ftp for cutting in New York. Complex workflow with steps and notification automated. Required scripting to make FC Server work with ftp server. Process also described in this white paper called "Final Cut Server in Depth" (PDF download.) Translation was added as subtitles using the title tool in Final Cut Pro. BTW, that's extra work for the translator. For Latin Pulse we do subtitles and it takes a lot of time. Translation is done first by someone with good Spanish and English, then spotting and creation of titles is done afterwards by someone who doesn't need language skills that are that strong. (Another step is me reviewing all of the subtitles, suggesting rewrites, adjusting the layout of the titles, and editing if the translation is too long to get read in real time.)
Check out Final Cut Pro projects from Server
Options to handle media when you check out a project
-Edit in place (doesn't do anything really)
-Edit proxies (good for taking a project home for the weekend or on the road)
-Disconnected use (makes a copy of the project and its media, like media manager)
Can't use project until it is checked back in. That is folks can't work on the same FCP project at the same time.
Media manager only recommended if you are creating a whole new version of a project. Again you have to play by FC Server's rule if you want it to track your stuff well.
Demo'd a web interface to log and annotate clips. But this was only a demo version and is not part of the softare. This was a "what you could do" if you are web developer or could afford to hire one. Hmm, well I'm not and we can't for what I do.
FC Server Strategy Meeting--topics for discussion
-Storage plan (for proxy files)
-Type of proxies
-Workflow strategy (what do you do with your media, where does it go, how does it get there, who does what with the media, aka Who, What, Where, Why, When, and How)
-Users
-Advanced automation
-email notifications
-Compression & distribution
-Web review (again not part of the product)
-"Customer" access to FCS
Automated backup can be done--setup rules for when to backup
For example: if file hasn't been touched in a certain amount of time, move to backup storage
Don't have to do an initial scan that sucks in all of your media, it may be better to add project by project. That way, you can be more thorough with metadata.
Annotate is where you can tag in and out markers and comments on clips. Apple guy said that this is supposed to be for transfer of this info back to FCP, but he didn't know how to do it/if it could be done now. Originally, there was going to be similar functionality to make simple edited sequences--I think those would have been transfered back through XML files. But Apple guy said no editing functionality but he "hoped" that they would add that feature because they touted it last year. Annotate is where producers could check out clips for editing and mark ins and outs for editors. It would be great if that could get into FCP. It would still be great for the producers to mark ins and outs on media directly on the clips as opposed to making notes on paper based on time code from a Beta or DV or timer from DVD. But without sending that info back to FCP, editor has to manually transfer in and out points.
Does it work with stills? Sure. FC Server is based on the Artbox software, which was originally written for still images. Also useful for getting producers to sign off on graphics. No need to drag Wendy into the editing room for her to look at something, which (I hope) she will just say OK to anyway. Yeah, for real collaboration you have to be in the same room but for quick and dirty this would be really nice to speed things up.
Suggestions from presenters that FC Serve can read After Effects files to get the links to the media that the project uses. That would be cool.
I went to a presentation on Final Cut Server. It was hosted by Advanced Systems Group. They had a guy from Apple there to talk about the software. Then another guy gave a spiel about how you really want an expert to set up and customize FC Server. They gave some examples where you'll want an expert--setting up a web interface to videos, interacting with automation/playout servers.
One thing I realized at the presentation is that our metadata situation with our Final Cut projects is poor to useless. I know I rarely label clips with helpful info. I try to name projects accurately with the title of a project, but sometimes I don't get it right or the project name changes. Even tape numbers are not always entered or done so accurately. What's the point of having a giant database if you can't search with confidence that you'll actually find what you are looking for? Not to mention an ideal functionality like having files indexed with useful metadata so you could do keyword searches, say "insurgent attacks" and get some dramatic footage from Mosaic.
At our office editors usually haven't collaborated. I usually took an attitude of "if I can find it/figure it out, that's all that matters." But that kind of attitude is the opposite of what's needed for asset management. Extra work needs to go into getting good metadata with your media. Since we don't have the option of hiring a librarian to organize things, that means more work for the editors probably who have to have bought into the process. If they haven't then things will slack off and the metadata won't get entered.
While Final Cut Server does everything that I wrote about in my last post on it, the Apple guy and the ASG folks were really pushing that you have to have an expert to set it up. I think I could get it to do everything that I discussed in my last post with the caveat about searching through poor metadata.
We've talked about hosting media from Mosaic on the web. Again, FC Server won't do this on its own. But it seems like it would be a good spot to organize that media. Then with automation scripting in FC Server, you could hand off the media to a website that handles the front-end, movie hosting, etc. FC Server would be where staff would import media and attach metadata to make it useful for users. FC Server could automatically hand it off to a system to handle the web part with scripting done by somebody knowledgeable.
Below are the notes that I took at the session:
Once a project is imported into FC Server you need to check in and check out. If you keep a copy locally and work with it again after import, then FC Server will think it's a new file when you try to put it back into FC Server. So basically it adds an extra step to opening a project--you have to check it out of FC Server first. Then you have to check it back in to get it to FC Server to update the media for it. Looks like more work for the editor, who has to have bought into the process--otherwise, he or she will just keep everything locally.
Showed a cool video about Radical Media
Translation done in China and FC Server handled ftp for cutting in New York. Complex workflow with steps and notification automated. Required scripting to make FC Server work with ftp server. Process also described in this white paper called "Final Cut Server in Depth" (PDF download.) Translation was added as subtitles using the title tool in Final Cut Pro. BTW, that's extra work for the translator. For Latin Pulse we do subtitles and it takes a lot of time. Translation is done first by someone with good Spanish and English, then spotting and creation of titles is done afterwards by someone who doesn't need language skills that are that strong. (Another step is me reviewing all of the subtitles, suggesting rewrites, adjusting the layout of the titles, and editing if the translation is too long to get read in real time.)
Check out Final Cut Pro projects from Server
Options to handle media when you check out a project
-Edit in place (doesn't do anything really)
-Edit proxies (good for taking a project home for the weekend or on the road)
-Disconnected use (makes a copy of the project and its media, like media manager)
Can't use project until it is checked back in. That is folks can't work on the same FCP project at the same time.
Media manager only recommended if you are creating a whole new version of a project. Again you have to play by FC Server's rule if you want it to track your stuff well.
Demo'd a web interface to log and annotate clips. But this was only a demo version and is not part of the softare. This was a "what you could do" if you are web developer or could afford to hire one. Hmm, well I'm not and we can't for what I do.
FC Server Strategy Meeting--topics for discussion
-Storage plan (for proxy files)
-Type of proxies
-Workflow strategy (what do you do with your media, where does it go, how does it get there, who does what with the media, aka Who, What, Where, Why, When, and How)
-Users
-Advanced automation
-email notifications
-Compression & distribution
-Web review (again not part of the product)
-"Customer" access to FCS
Automated backup can be done--setup rules for when to backup
For example: if file hasn't been touched in a certain amount of time, move to backup storage
Don't have to do an initial scan that sucks in all of your media, it may be better to add project by project. That way, you can be more thorough with metadata.
Annotate is where you can tag in and out markers and comments on clips. Apple guy said that this is supposed to be for transfer of this info back to FCP, but he didn't know how to do it/if it could be done now. Originally, there was going to be similar functionality to make simple edited sequences--I think those would have been transfered back through XML files. But Apple guy said no editing functionality but he "hoped" that they would add that feature because they touted it last year. Annotate is where producers could check out clips for editing and mark ins and outs for editors. It would be great if that could get into FCP. It would still be great for the producers to mark ins and outs on media directly on the clips as opposed to making notes on paper based on time code from a Beta or DV or timer from DVD. But without sending that info back to FCP, editor has to manually transfer in and out points.
Does it work with stills? Sure. FC Server is based on the Artbox software, which was originally written for still images. Also useful for getting producers to sign off on graphics. No need to drag Wendy into the editing room for her to look at something, which (I hope) she will just say OK to anyway. Yeah, for real collaboration you have to be in the same room but for quick and dirty this would be really nice to speed things up.
Suggestions from presenters that FC Serve can read After Effects files to get the links to the media that the project uses. That would be cool.
Monday, March 17, 2008
FCP's Competition--Avid & Adobe
Big news from Avid today. The cost of the software-only version of Media Composer has been cut in half to $2500. And they are killing Xpress Pro.
I haven't worked on Avid in over 5 years now. So I can't really comment on how it measures up now to Final Cut Pro. IMHO, I don't think this is going to upend Final Cut Pro's dominance. But it may help Avid from losing too much more market share. They are also offering an educational license of Media Composer for $295. For owners of Xpress Pro, you can upgrade for $500.
Good commentary on these blogs about the latest news from Avid:
ProVideo Coalition
HD for Indies
Studio Daily Blog
I'm about to get a copy of Adobe Creative Suite 3 Production Premium. I'm getting it is as a swap. Unlike Avid and Apple, Adobe has a non-profit pricing. So Production Premium CS3 retails for $1700, but the non-profit price is under $600. When you look at everything that's in the Production Premium, it's a competitive product. Here are the apps:
After Effects CS3 Professional
Premiere Pro CS3 (runs on Intel Macs but not PowerPC Macs, e.g., G5's)
Encore CS3
Photoshop CS3 Extended
Flash CS3 Professional
Illustrator CS3
Soundbooth CS3
Device Central
Ultra CS3 (Windows Only)
OnLocation CS3 (Windows or Bootcamp)
Afters Effects and Photoshop Extended each cost $1000 retail if you buy them separately. So the bundle has some value. When you compare what Apple is offering for $1300, it leaves me wanting more from Final Cut Studio. While I'm very happy with Final Cut Pro, Apple needs to do more work on the secondary apps. Color has bad buzz for being unstable. I know Motion 2 left a lot to be desired in reliability and performance--I'm hoping that once I start working with Motion 3, I'll be happier. And no update for DVD Studio Pro when Final Cut Studio 2 came out. What is up with that Apple? I'm still holding out hope that Apple's waiting until they can introduce a Blu-ray burner in their laptops and then they are going to announce support for authoring Blu-ray discs in Final Cut Studio. But I wouldn't hold your breath. Adobe's Encore CS3 already does Blu-ray authoring. (Recently Toast 9 was announced with support for authoring Blu-ray video discs.) The fact that the MacBook Air doesn't even come with a DVD drive makes me worried that Steve Jobs thinks that the iTunes Store means that no one needs a disc to watch video anymore--or reading between the lines, Blu-ray is just competition for Steve's dominating video like he dominates music.
The things I'm most looking forward to in After Effects CS3 are better performance and 3D text effects. But frankly, I'll probably never even try out Adobe Premiere. I worked on it ages ago and felt burned. I'm happy with Final Cut Pro and it's not worth it for me to learn a new app when I don't know that if it's as powerful and reliable than FCP (much less better.) Not to mention the advantage Final Cut Pro has by being the de facto editing package for the type of work that I do.
I haven't worked on Avid in over 5 years now. So I can't really comment on how it measures up now to Final Cut Pro. IMHO, I don't think this is going to upend Final Cut Pro's dominance. But it may help Avid from losing too much more market share. They are also offering an educational license of Media Composer for $295. For owners of Xpress Pro, you can upgrade for $500.
Good commentary on these blogs about the latest news from Avid:
ProVideo Coalition
HD for Indies
Studio Daily Blog
I'm about to get a copy of Adobe Creative Suite 3 Production Premium. I'm getting it is as a swap. Unlike Avid and Apple, Adobe has a non-profit pricing. So Production Premium CS3 retails for $1700, but the non-profit price is under $600. When you look at everything that's in the Production Premium, it's a competitive product. Here are the apps:
After Effects CS3 Professional
Premiere Pro CS3 (runs on Intel Macs but not PowerPC Macs, e.g., G5's)
Encore CS3
Photoshop CS3 Extended
Flash CS3 Professional
Illustrator CS3
Soundbooth CS3
Device Central
Ultra CS3 (Windows Only)
OnLocation CS3 (Windows or Bootcamp)
Afters Effects and Photoshop Extended each cost $1000 retail if you buy them separately. So the bundle has some value. When you compare what Apple is offering for $1300, it leaves me wanting more from Final Cut Studio. While I'm very happy with Final Cut Pro, Apple needs to do more work on the secondary apps. Color has bad buzz for being unstable. I know Motion 2 left a lot to be desired in reliability and performance--I'm hoping that once I start working with Motion 3, I'll be happier. And no update for DVD Studio Pro when Final Cut Studio 2 came out. What is up with that Apple? I'm still holding out hope that Apple's waiting until they can introduce a Blu-ray burner in their laptops and then they are going to announce support for authoring Blu-ray discs in Final Cut Studio. But I wouldn't hold your breath. Adobe's Encore CS3 already does Blu-ray authoring. (Recently Toast 9 was announced with support for authoring Blu-ray video discs.) The fact that the MacBook Air doesn't even come with a DVD drive makes me worried that Steve Jobs thinks that the iTunes Store means that no one needs a disc to watch video anymore--or reading between the lines, Blu-ray is just competition for Steve's dominating video like he dominates music.
The things I'm most looking forward to in After Effects CS3 are better performance and 3D text effects. But frankly, I'll probably never even try out Adobe Premiere. I worked on it ages ago and felt burned. I'm happy with Final Cut Pro and it's not worth it for me to learn a new app when I don't know that if it's as powerful and reliable than FCP (much less better.) Not to mention the advantage Final Cut Pro has by being the de facto editing package for the type of work that I do.
Monday, March 3, 2008
Interlacing
I spent 11 hours on Friday fixing a show, which was cut by an editor outside of Link, the day before air. One of the big problems with the show is that the editor didn't seem to have any concept of interlacing. For example, HDV and DV have different field order--HDV is upper field first, and DV is lower field first. You can't just throw them together in the same timeline without some processing. That processing is namely the "Shift Fields" filter. When editing HDV that's in the viewer into a DV sequence using the overwrite or insert command, FCP will automaticaly apply the Shift Fields filter with the correct setting--it also scales and distorts the video so it looks proper. However, I think if you just drag an HDV clip into a DV timeline, then FCP does not apply the filter, scale, and distort settings to the clip.
If you don't apply the shift field filter when you are mixing footage with different field orders, then you will got stuttery playback. Chris & Trish Meyer have a good write-up on fields along with all the particulars you need to know to handle interlacing in After Effects. Check out this article from ProVideo Coalition:
Field Order - Who’s on First?
I suspect that the show that I fixed was edited on an LCD monitor. FCP makes it easy enough to use a computer LCD to display footage that I think more and more people are doing without a video monitor. Some might even say that interlace is dead because 99% (not actual number) of new TV's are progressive anyway. Well, as long as you are delivering for standard-definition, then I think you have to got to look at your show on a CRT monitor that can properly display interlace (except for those rare cases, when you have a 24p show that is only going to DVD in standard-def.) There will be plenty of CRT TV's around for a long time, and plenty of broadcasters using 480i or DVD video encoded as 30i.
If you don't apply the shift field filter when you are mixing footage with different field orders, then you will got stuttery playback. Chris & Trish Meyer have a good write-up on fields along with all the particulars you need to know to handle interlacing in After Effects. Check out this article from ProVideo Coalition:
Field Order - Who’s on First?
I suspect that the show that I fixed was edited on an LCD monitor. FCP makes it easy enough to use a computer LCD to display footage that I think more and more people are doing without a video monitor. Some might even say that interlace is dead because 99% (not actual number) of new TV's are progressive anyway. Well, as long as you are delivering for standard-definition, then I think you have to got to look at your show on a CRT monitor that can properly display interlace (except for those rare cases, when you have a 24p show that is only going to DVD in standard-def.) There will be plenty of CRT TV's around for a long time, and plenty of broadcasters using 480i or DVD video encoded as 30i.
Monday, January 28, 2008
Fixing QuickTime 7.4
"Dealing with Quicktime 7.4"
I mentioned briefly last week not to install QuickTime 7.4. Its most disastrous after effect is to break After Effects--you can't render for more than 10 minutes. Check out the link above for info on installing an earlier version of QuickTime if you are stuck with QuickTime 7.4.
QuickTime 7.4: Downgrade working for many users; remove components for playback issues
MacFixIt also mentions removing third-party QuickTime components. This solved a problem for me recently--an old Divx component was screwing up iMovie '08.
I mentioned briefly last week not to install QuickTime 7.4. Its most disastrous after effect is to break After Effects--you can't render for more than 10 minutes. Check out the link above for info on installing an earlier version of QuickTime if you are stuck with QuickTime 7.4.
QuickTime 7.4: Downgrade working for many users; remove components for playback issues
MacFixIt also mentions removing third-party QuickTime components. This solved a problem for me recently--an old Divx component was screwing up iMovie '08.
Monday, January 21, 2008
Apple TV Take 2
"Take 2" is what Apple is calling the forthcoming updates to their Apple TV product. I consider this an acknowledgment that take 1 didn't cut it, and I think they have gone a long way towards overcoming the problems of Apple TV (and also have made it a more promising distribution format for Link TV while they were at it.)
There are 3 big updates to Apple TV: 1) Movie rentals (before you could only buy movies or load your own through a cumbersome encoding process) 2) HD movie rentals (finally real HD content for a device that was effectively designed only for HD displays) 3) you can add content without using a computer at all. As for one and two, these make the Apple TV a compelling product--movie rentals starting at $3 without leaving your home, or even the couch. Luckily for Apple, the consumer electronics corporations (including Microsoft) have basically wasted the last year with a battle between Blu-ray and HD DVD. It now seems Blu-ray is the winner, but meanwhile Apple has added HD movies to the Apple TV with support from all the movies studios. Currently, Universal and Paramount do not support Blu-ray and are HD DVD exclusive. On the other hand, movies are available on Apple TV 30 days after the discs are released (it's also not clear to me that every movie will be available on Apple TV.) Starting at $239 for a 40GB Apple TV, it is cheaper than any of the Blu-ray players.
In summary, I think Apple TV is now a compelling device for a significant amount of consumers. As I wrote when it first was announced last year in this post, Apple TV gets podcasts, like Mosaic, directly to the TV set. Now with the new update to Apple TV, podcasts can be browsed and watched from the sofa. In the first generation of Apple TV, podcasts had to be downloaded on a computer then synced to the Apple TV. Now we can search and browse through all of the podcasts on the iTunes Store directly on the Apple TV--then start playing a podcast immediately once you find something interesting. I think this will really help bring podcasts to the TV screen.
Visit this page for a simple demonstration on how you can browse and watch podcasts through the Apple TV.
"iTunes and Apple TV rentals and purchases: what you can (and can't) do"
One drawback with the Apple TV is that it's confusing about what kind of content you can watch where--the article gives you the lowdown on what's doable with the new rental and HD content on Apple TV
Apple TV Guided Tour Have no idea what I'm talking about? Watch this movie by Apple to understand what it does.
"The Big Picture: Apple's methodical moves show it takes time to change the world." Apple not only has to negotiate with the studios, face off competition from the consumer electronics companies and Microsoft, but could run into some trouble with the broadband providers and Google. Bob Cringely expresses concerns about Apple's approaches in this article.
P.S., I also think this means no Blu-ray support on Mac's for the foreseeable future, including Blu-ray authoring in DVD Studio Pro. That sucks.
P.P.S. Movie rentals are available in iTunes without Apple TV.
P.P.P.S. However, don't install the new QuickTime, which is required for rentals, on a system with After Effects. QuickTime 7.4 screws up AE rendering. "Thanks Again Apple"
There are 3 big updates to Apple TV: 1) Movie rentals (before you could only buy movies or load your own through a cumbersome encoding process) 2) HD movie rentals (finally real HD content for a device that was effectively designed only for HD displays) 3) you can add content without using a computer at all. As for one and two, these make the Apple TV a compelling product--movie rentals starting at $3 without leaving your home, or even the couch. Luckily for Apple, the consumer electronics corporations (including Microsoft) have basically wasted the last year with a battle between Blu-ray and HD DVD. It now seems Blu-ray is the winner, but meanwhile Apple has added HD movies to the Apple TV with support from all the movies studios. Currently, Universal and Paramount do not support Blu-ray and are HD DVD exclusive. On the other hand, movies are available on Apple TV 30 days after the discs are released (it's also not clear to me that every movie will be available on Apple TV.) Starting at $239 for a 40GB Apple TV, it is cheaper than any of the Blu-ray players.
In summary, I think Apple TV is now a compelling device for a significant amount of consumers. As I wrote when it first was announced last year in this post, Apple TV gets podcasts, like Mosaic, directly to the TV set. Now with the new update to Apple TV, podcasts can be browsed and watched from the sofa. In the first generation of Apple TV, podcasts had to be downloaded on a computer then synced to the Apple TV. Now we can search and browse through all of the podcasts on the iTunes Store directly on the Apple TV--then start playing a podcast immediately once you find something interesting. I think this will really help bring podcasts to the TV screen.
Visit this page for a simple demonstration on how you can browse and watch podcasts through the Apple TV.
"iTunes and Apple TV rentals and purchases: what you can (and can't) do"
One drawback with the Apple TV is that it's confusing about what kind of content you can watch where--the article gives you the lowdown on what's doable with the new rental and HD content on Apple TV
Apple TV Guided Tour Have no idea what I'm talking about? Watch this movie by Apple to understand what it does.
"The Big Picture: Apple's methodical moves show it takes time to change the world." Apple not only has to negotiate with the studios, face off competition from the consumer electronics companies and Microsoft, but could run into some trouble with the broadband providers and Google. Bob Cringely expresses concerns about Apple's approaches in this article.
P.S., I also think this means no Blu-ray support on Mac's for the foreseeable future, including Blu-ray authoring in DVD Studio Pro. That sucks.
P.P.S. Movie rentals are available in iTunes without Apple TV.
P.P.P.S. However, don't install the new QuickTime, which is required for rentals, on a system with After Effects. QuickTime 7.4 screws up AE rendering. "Thanks Again Apple"
Wednesday, June 20, 2007
Tutorials and Demos Galore
"A look at lights in Motion 3"
"Click-thru Tutorial: Magic Bullet Looks"
"Click-thru Tutorial: GenArts Sapphire"
"Creating Node Trees in Color and the special case of interlaced video "
"Creating Footage with Shatter and Particle Playground" (After Effects)
These are all worth a look. New features in Motion and Color. No shadows in Motion 3--darn. Magic Bullet and Sapphire aren't something that I'll be using anytime soon, but it's interesting to see what they can do & gives me a few ideas. I haven't used particles in After Effect, but this article could get me started.
"Click-thru Tutorial: Magic Bullet Looks"
"Click-thru Tutorial: GenArts Sapphire"
"Creating Node Trees in Color and the special case of interlaced video "
"Creating Footage with Shatter and Particle Playground" (After Effects)
These are all worth a look. New features in Motion and Color. No shadows in Motion 3--darn. Magic Bullet and Sapphire aren't something that I'll be using anytime soon, but it's interesting to see what they can do & gives me a few ideas. I haven't used particles in After Effect, but this article could get me started.
Monday, June 11, 2007
After Effecst CS3--Runs Faster
"Adobe After Effects CS3: Cranking it up to 11" from Studio Daily
"ADOBE AFTER EFFECTS CS3: A justification for buying an 8-core Mac Pro" from Bare Feats
Reviews and tests of CS3 are rolling in. To me, the big news is that CS3 is running much faster on both G5's and Intels. The last version After Effects 7 was not a Universal Binary and wasn't designed to run on Intel chips. But looking at Bare Feats tests, there are big performance gains to be had for G5 owners too by upgrading to CS3.
The other big feature that I would use is 3-D text animation. Good thing Adobe added this, otherwise Motion would really begin to push past After Effects on the features for the type of quick-n-dirty motion graphics that I do.
"ADOBE AFTER EFFECTS CS3: A justification for buying an 8-core Mac Pro" from Bare Feats
Reviews and tests of CS3 are rolling in. To me, the big news is that CS3 is running much faster on both G5's and Intels. The last version After Effects 7 was not a Universal Binary and wasn't designed to run on Intel chips. But looking at Bare Feats tests, there are big performance gains to be had for G5 owners too by upgrading to CS3.
The other big feature that I would use is 3-D text animation. Good thing Adobe added this, otherwise Motion would really begin to push past After Effects on the features for the type of quick-n-dirty motion graphics that I do.
Wednesday, May 30, 2007
Rendering 10-bit in After Effects
With ProRes 422, I think I might start working in 10-bit video. Below is some info on working with 10-bit and ProRes 422 in After Effects. Pretty deep stuff, but apparently it can take some work to get After Effects to work with 10-bit well. Info from HD for Indies and Studio Daily.
After Effects Stuff: Workflow tips and QT NOT always 10bit when you render"
"The great codec bake-off"
After Effects Stuff: Workflow tips and QT NOT always 10bit when you render"
"The great codec bake-off"
Monday, April 16, 2007
Lots of Adobe Stuff Going On
"Adobe offers Premiere Pro, After Effects betas"
Betas of Premiere Pro for Mac and After Effects Pro 8 available. Premiere Pro is only for Intel Macs, not G5's or G4's. After Effects Beta is only available for folks with a serial number for After Effects 7, but the article doesn't mention any similar restrictions on Adobe Premiere Pro for Macs. Article reminded me that Adobe is working on Blu-Ray authoring for Encore, which will be on Macs later this year. What's up Apple? Where's your next-gen authoring for DVD Studio Pro?
"Adobe to show off media player"
Adobe is working on a stand-alone flash player. Looks like it has sort of an iTunes interface.
"Adobe ships Creative Suite 3"
Days after I order a copy of Creative Suite CS2, Adobe ships a new version. (OK, there are good reasons why I ordered the old version after I knew CS3 was on its way.)
Betas of Premiere Pro for Mac and After Effects Pro 8 available. Premiere Pro is only for Intel Macs, not G5's or G4's. After Effects Beta is only available for folks with a serial number for After Effects 7, but the article doesn't mention any similar restrictions on Adobe Premiere Pro for Macs. Article reminded me that Adobe is working on Blu-Ray authoring for Encore, which will be on Macs later this year. What's up Apple? Where's your next-gen authoring for DVD Studio Pro?
"Adobe to show off media player"
Adobe is working on a stand-alone flash player. Looks like it has sort of an iTunes interface.
"Adobe ships Creative Suite 3"
Days after I order a copy of Creative Suite CS2, Adobe ships a new version. (OK, there are good reasons why I ordered the old version after I knew CS3 was on its way.)
Sunday, March 11, 2007
Best Way to Scale Up Video (without buying another plugin)
One more post of my cribsheet from DV Rebel's Guide. So Stu Maschwitz recommends using Photoshop to scale up video. In his case, he's talking about using video shot letterbox 4:3 to a native 16:9 for DVD, but seems like it could work for standard-def that needs to go to high-def too. After Effects uses bilinear interploation, but Photoshop CS has a better algorithm for scaling images--bicubic sharper. So how do you use Photoshop to work with video? Stu recommends converting your movie to series of TIFF images (with LZW compression) and then using Photoshop actions to automate the process. This assumes that you have progressive video--if you have interlaced footage then you'd have to deinterlace with After Effects (use preserve edges), output 60 fps of TIFF's, scale in PS, the re-interlace in After Effects.
Motion FX's in After Effects
I generally hate using slow motion in FCP because I don't like the results of FCP's frame bleding. Frame blending basically just makes up new frames by blending frames together--sort of like little dissolves. This especially doesn't look good with interlaced footage which is what I mostly work with because you have to add on the look of deinterlacing, which basically leaves you with half of your picture because it throws out every other line of video.
There's a better way of doing slo-mo called interpolation. Compressor actually will do interpolation, and it is why Compressor does good conversion from PAL to NTSC (if at shockingly slow speeds.) But Compressor is not set up to do interpolation for slo-motion. There are some workarounds, but if you have After Effects 7, then I think it is a better workflow.
With After Effects 7, Adobe introduced a new setting to frameblending called "Pixel Motion", which is interpolation. With interpolation, the software looks for what areas of the image are moving and figures out what the in-between steps would be based on how fast and in what direction those moving parts are moving. It's more processor-intensive but the results are superior to the frame blending.
So how do you turn on interpolation in After Effects? There has always been frame blending switch in After Effects, but now it has three settings--off, draft, and fine. Draft is regular-old frame blending like FCP does, and fine is interpolation. Make sure to turn on frame blending in your rendering settings or otherwise AE won't do anything when you render.
With interlaced footage, also check you footage interpretation. According to Stu Maschwitz in his book "The DV Rebel's Guide", use the Preserve Edges option for footage interpretation to insure that "jaggies will be reduced." I don't know what that means by I defintiely trust Stu 100%. This post is basically a note about what I just read in "The DV Rebel's Guide." The book is for aspiring action-film makers, but it is chocked full of awesome advice on getting the maximum out of Adobe After Effects. This info came from a chapter on creating slo-mo effects. He says shoot your movie in 24p but your slo-mo shots in 60i (interlaced), which is sort of like overcranking a film camera. Stu has a blog ProLost with a link to his book. Lots of great stuff in the book. I'm going to try and write down notes for myself here on the blog, but there's no way I could get down all the great things in the book. For any lo-budget independent who want to make a "video" for theatrical purposes, this book is a must-read.
There's a better way of doing slo-mo called interpolation. Compressor actually will do interpolation, and it is why Compressor does good conversion from PAL to NTSC (if at shockingly slow speeds.) But Compressor is not set up to do interpolation for slo-motion. There are some workarounds, but if you have After Effects 7, then I think it is a better workflow.
With After Effects 7, Adobe introduced a new setting to frameblending called "Pixel Motion", which is interpolation. With interpolation, the software looks for what areas of the image are moving and figures out what the in-between steps would be based on how fast and in what direction those moving parts are moving. It's more processor-intensive but the results are superior to the frame blending.
So how do you turn on interpolation in After Effects? There has always been frame blending switch in After Effects, but now it has three settings--off, draft, and fine. Draft is regular-old frame blending like FCP does, and fine is interpolation. Make sure to turn on frame blending in your rendering settings or otherwise AE won't do anything when you render.
With interlaced footage, also check you footage interpretation. According to Stu Maschwitz in his book "The DV Rebel's Guide", use the Preserve Edges option for footage interpretation to insure that "jaggies will be reduced." I don't know what that means by I defintiely trust Stu 100%. This post is basically a note about what I just read in "The DV Rebel's Guide." The book is for aspiring action-film makers, but it is chocked full of awesome advice on getting the maximum out of Adobe After Effects. This info came from a chapter on creating slo-mo effects. He says shoot your movie in 24p but your slo-mo shots in 60i (interlaced), which is sort of like overcranking a film camera. Stu has a blog ProLost with a link to his book. Lots of great stuff in the book. I'm going to try and write down notes for myself here on the blog, but there's no way I could get down all the great things in the book. For any lo-budget independent who want to make a "video" for theatrical purposes, this book is a must-read.
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