Render This - New Mac Pro Arrives at FiveSix
Sometimes you just need a little extra power to spice things up in the office. Here at FiveSix Productions, we've been running a few different workstations for some time now, a couple mac trashcans from awhile back and a couple newer imac pro machines. But with the new Mac Pro out, we decided our Edit 1 Bay could use an extra boost. So far so good. We run the Adobe Creative Cloud suite working primarily with Premiere Pro and After Effects but also DaVinci Resolve for some color correction. This machine takes on video editing, real time 2D and 3D graphics creation and powers through the renders at a much better click than its predecessor, but I should hope so for the price tag. We didn't load it up with all the extras and purchased most of the additions from outside of Apple, though we did opt for the afterburner card to help with quick encoding. We're only a few weeks in but our editors can surely tell the difference.
There isn't much else to say. We've cut a commercial, half a dozen corporate videos and a short film so far and haven't had any issues. We'll update soon once we've really put it to the test and have some hard data of our own to report. Until then, happy cutting!
A Renaissance For Final Cut Pro X?
Apple released the latest update to Final Cut Pro X on September 4th- and only time will tell how it will be received. When Apple released the original Final Cut Pro X, moving on from the wildly popular and successful Final Cut Pro, back at NAB in 2011, the initial and long-standing reaction was primarily negative. As Apple and it's world was blazing closer and closer to becoming their own universe, they saw fit to utilize their "all in one" formula for video editing; professionally, this resulted in backlash and jumping-of-ship. Jan Ozer (it wasn't Richard Townhill, Senior Director of Applications Marketing at Apple, our bad) was quoted saying: (source)
Of course, I understand how iTunes is ideal for inexperienced users, and that’s precisely the point. With iTunes and iPhoto, and the iPad and iPhone, Apple wasn’t selling to experienced users. It was opening new markets. In contrast, with Final Cut Pro X, Apple was trying to change the workflows of professionals who knew more about video production than any of the engineers who created the product.
You can only impose structure when a market is new or when the benefits of that structure are incremental. And the more structure you build into a product, the less it’s likely to appeal to experienced users of the product it replaces. That’s why most professional video producers jumped ship when FCPX was launched and why most won’t use it.
What can be surmised is that Apple was catering to the user friendly, even soccer mom and hockey dad can use it, as had and is true with their formula since day one. While the backlash from professionals, and semi-professional film makers is understood to a degree, perhaps you can't solely rely on Apple products for everything in your life.
Enter the latest version of FCPX, 10.2.2. Many of the frustrations from the early versions have since been addressed and changed to appease the professional user. The ability to create 3D titles within Motion 5 and work seamlessly with Pro X has been added, as well as improved motion graphics within. Color grading is also internal, as one can work with four scopes simultaneously during color correction. Expanded acceptance of multiple video formats from Sony and Panasonic is new; as well as advancements with RED. RED RAW footage, even up to 4K can now be done in application due to accelerated GPU support, so playback, rendering, and trans-coding are not so arduous (especially with a more powerful MacPro). RED RAW anamorphic formats are also displayed in their correct aspect ratios, so your widescreens stay nice and wide.
Some other new or improved features of Final Cut Pro X 10.2.2 include custom effect presets, library smart collections, single import window, and audition that allows you to choose multiple shots/clips, and audition them on the timeline all at once. Compressor 4, there are built in presets that allow you to optimize your compression specifically for iTunes, where you may load your trailer, film, closed captions, and more, then begin selling on iTunes immediately.
So, as previously stated, time will tell if FCPX ever finds it's way fully into the Hollywood landscape; but, with films like Will Smith's "Focus" being edited solely on FCPX, there's signs of life. I myself am a Premiere fan, but it's interesting to watch.
Get Your Head in the Cloud #Adobe #Creative Cloud #PremiereProCC
In recent years, the accessibility and approachability of cinema quality recording devices has allowed film making to find it's way into our everyday life. From cinema quality images created by DSLRs like the Canon 5D Mark III (only $2,800.00) and even the 6D or 7D Mark II (both of which come in under $2,o00.00), and even the awesome images created by the Apple iPhone, film making has become something that anyone can do for a reasonable price. It's not just the ability to create video for the common person, it's now that you, your buddy, your mom, anyone, can not only create video with their smart phone, but the images are beautiful, cinema quality. (Good lighting, angles, and story are sold separately.)
Along with the influx of cameras is the recent accessibility and affordability of editing software that is not only user friendly and simple to learn, but it's also Hollywood quality. While Avid has been the industry standard, and is still used by many an editing house and on many a feature film, Adobe's Premiere Pro and even for a while Apple's Final Cut Pro have (had) been used increasingly more on television, feature films (such as Gone Girl) and on your mom's documentary of Christmas morning and your first date - you didn't see her in the bushes filming you with her iPhone 6 did you? While there are many "seasoned" editors who swear that there is no way you can produce a quality edited product on Premiere, more and more pieces are coming out that prove just the opposite. Again though, it's not just the ability to create professional products, it's the fact that, like with a DSLR, you don't have to be a seasoned, long time film/television professional to even understand and utilize the equipment/software.
With the advent of "the cloud", Adobe has made their long and generous line of software products available at an incredibly affordable rate per month. For around $50 a month, one could get their "holy-crap" package that comes with literally everything they have to offer; you could edit a film, color correct it, do professional audio editing, after effects, and more for a fraction of what Avid costs.
So, there you go... if you love Avid, which there is nothing wrong with, have a ball; but, if you're like most people on Earth, I say go with the budget friendly option that will work just as well. You can take that extra cash and buy a sweet shirt or... some tacos for your friends.
There's a P in Pterodactyl
I often wonder what goes through the mind of an editor or graphic designer when they see the word Pterodactyl. It's a fairly common word really, most people learn it when they're children; and though it's an odd, almost Greek-looking word, I feel it's recognizable enough. Still, there is something almost mystifying about an editor and graphic designer's ability, or, should I say, lack there of, to spell even the most common words. Before I appear morose or offensive, I would like to say that I believe these folks are intelligent, creative, and capable of wonderful on-screen-text, if only they just believe. I spent many an elementary year struggling with the subject of spelling, the laughter and pointing fingers only drove me to be more diligent in my studies, as well as utilize the resources of "spell check" and of course, a dictionary.
This inquisition into the unknown finds it's genesis in an instance when I was beseeched by a superior of mine to email any written material to editors and graphic artists to minimize grammar or spelling errors that so oft find their way onto our screens. I, in the most gallant fashion, shot an inquisitive and most likely, befuddled look, to which the response was: "Editors and graphic artists can't spell, that's why there is copy and paste." Shakespeare himself couldn't pen a more beautiful explanation; I felt as if I was listening to a concerto by Mozart, or gazing upon a Monet or the statue of David itself. I vowed from that moment to not only follow through with the advice, but also, to explore the origins and reasons behind the phenomenon of editor's inability to spell well. I would encourage everyone to do the same, as well as offer their help to anyone in distress.
My best recommendation for a place to start is, Mr. Merriam and Mr. Webster- masters of their craft. Also, keep in mind friends, even our once great and prudent leader, President George Bush Sr.'s Vice President, Mr. Dan Quayle, had trouble spelling at one time or another.
Ping Pong Master vs Kuka Robot - Video Production Steals the Show
Just cause you can do it, doesn't mean you should.
The premise of matching a man vs machine is a compelling storyline, in just about any competition. In the case of table tennis, this advertisement made the rounds seemingly to tease a future video of the game. We never got that, unfortunately. Technically the video was sound. The lighting was dramatic and interesting, the camera movement was smooth, the angles and framing were dynamic. But even though they pulled everything off, it felt like a video production case of we got it so let's use it.
We have high speed frame rates, let's use it to show a dive from a low angle with sweat flying through the air. (seen it before)
We have 4K, let's pan and scan a couple hits across the table. (jarring, kind of annoying, rather see a wide shot)
We have a jib/crane, let's do a high angle really wide while he's running around.
It just felt like they were throwing video production elements in because they could, not because it helped the spot. I think it could have turned out better without all the jazz. The use of the rapid cutting and having every shot trying to speak to the dramatics of the situation, pulled us to focus more on the video production rather than the robot. This is an ad after all and it felt like it. After seeing the close up of Kuka on the ball twice for no particular reason and never seeing a 'real' point played, I think the ad made me feel like I was watching an ad, a quarter way through. If I wasn't into the production side of things, I would have closed out. If the ad did it's job, I should be talking how cool robotics is going to be for videographers as prices come down and we can get robots like that to create precision moves on our shoots that call for it. Instead I'm saying, how cool for the production team that got to play with all their gear on a shoot that didn't call for it. But I wrote about it so maybe it did it's job after all.
Basic point is, we're all guilty of this from time to time and it's always good to check yourself and make sure you're not using a piece of gear just because it's available or it's cool and you want to use it. Gear is used to enhance the shot/piece, not create it.
Here's the Kuka robot video if you haven't seen it.