Final Cut Pro Offline Edit with ProRes Proxy…
It has been documented that the newly released feature film “Eat Pray Love” staring Julia Roberts was edited entirely on a Final Cut Pro workstation.
I found this most interesting:
“The editors found an efficient solution in ProRes 422 (Proxy), a new version of the Apple ProRes codec introduced with Final Cut Pro 7. As soon as dailies arrived from EFILM, Assistant Editor Doc Crotzer would transcode the files from ProRes 422 (HQ) to ProRes 422 (Proxy), organize the footage into bins, and prepare the material for editing.”
Review this chart, and notice the variations in data rates of the ProRes family of codecs:
Obviously lower data rates = smaller file sizes. The bottom line is working with ProRes Proxy files (Offline copies of original ProRes 422/HQ files) creates a much more efficient workflow that is less taxing on any system.
I’ve adopted a slick method using my iMac for rough cutting ingested AVCHD footage that has been transcoded to ProRes Proxy via Final Cut Pro’s Log and Transfer. Depending on the complexity of the finished project sequence, I can finish and output on the iMac, or – move the project and it’s assets over to my MacPro for finishing. The key is prior to outputting, the edited Proxy clips can be re-captured and replaced with higher quality ProRes versions.
The Workflow:
Reconnect Media
If you edit on an iMac, a Mac Portable with an external FW800 hard drive, or if you are looking for a more efficient large-scale project workflow – try this method. It works well for me …
-ptfigg.
Final Cut Pro: Open in Editor …
One of the many aspects of Final Cut Pro that I would like to see improved is how project clip attributes are displayed. Currently right clicking on a media file located in the Browser or Timeline and selecting Item Properties/Format displays a sort of bloated window with a table. In most cases I am only concerned with the datarate, framerate, codec, and aspect ratio. I decided to build a simple HUD style file inspector, and I found an easy way to integrate it with Final Cut Pro.
I’m calling this tool movieData. It is in fact a stand alone application that needs to be installed as normal in the Applications folder. In order to use this tool to display clip attributes, the user must access the FCP System Settings/External Editors preference and set movieData as the default Video File Editor. Now if you right click on a clip in the Browser or Timeline and select Open in Editor, the HUD runs and displays the supported clip attributes. I built in an On/Off HUD Transparency preference. It’s pretty cool.
I’m sure there is a more seamless method of integrating this inspector with FCP. At this point the Open in Editor option suits me just fine …
If you would like to check it out, get in touch.
-paul.
Technorati Tags:
Final Cut Studio 3, Video Post Production
aspectRatio: New design
I’ve consolidated the design and functionality of the aspectRatio version 1 series UI.
The main (and only) program window now consists of two individual views: Fixed and Custom Calculations. The user can select a view with the Segmented Control, located at the bottom right of the application window. Additional fixed calculation actions that were previously accessible on various “sheets” are now located in a new lower drawer.
I rewired all the application objects and edited a good amount of code. I need to test the application before I release it. I think it turned out pretty well …
Update: aspectRatio ver.1.10 has been released.
-paul.
Technorati Tags:
Aspect Ratio Converter, aspectRatio, Post Production, Video Post Production
Final Cut Pro:Timecode Generator
Let’s assume you are finishing up a rough edit for client review consisting of multiple clips and sound. The client requests visible timecode in the review movie. Final Cut Pro includes a Timecode Generator Filter located in Effects/Video Filters/Video. Since this is in fact a filter, it must be applied to each individual clip. The problem with this implementation? The TC Generator will reset on a clip to clip basis as the playhead moves through the sequence.
Our objective is to have the TC Generator display a continuous representation of the entire sequence timecode. I have two suggestions …
Nesting
The image below represents a Nested sequence:
The original sequence consisted of multiple independent clips. Nesting a selection of timeline assets creates a new self contained sequence without any reference to previous edit points.
To create a Nested Sequence, select the timeline assets. Head up to the FCP Sequence Menu and select Nest Item(s). You can also use the keyboard shortcut ⌥ C. Apply the FCP Timecode Generator Filter to the Nest. The filter will display the RT playback timecode in the Canvas. The Timecode will be visible in the output movie.
Andy’s Timecode Generator
There is another way to do this using a (free) third party generator. Andy’s TC Generator allows you to add a TC Generator directly to your existing sequence as an overlay on a upper video track. The developer notes that you can adjust the offset to match your sequence, or use it as it’s own free running reference. Very cool.
One final note about one of Final Cut Pro’s newest features: The Timecode Viewer HUD.
The resizable Timecode Viewer (Tools/Timecode Viewer or press Control-T) makes reading current timecode very easy. The Timecode Viewer displays the timecode for either the Timeline/Canvas or the Viewer as well as the corresponding sequence name or clip name. You can customize what is displayed by right-clicking either the upper or lower display areas of the HUD.
Tip: for easy access, add a Timecode Viewer Shortcut Button to a Button Bar in the FCP window of choice – (Tools/Button List/Timecode Viewer).
-paul.
Technorati Tags:
Final Cut Studio 3, Video Post Production, Final Cut Pro Timecode Generator, Andy’s Timecode Generator
aspectRatio ver. 1.9 Released …
New in this Release:
• If custom calculated output dimensions are not evenly divisible by 16, the aspectRatio Custom Conversion utility will now suggest evenly divisible high/low values.
Select MPEG formats are based on 16×16 macro-blocks. Output dimensions evenly divisible by 16 will maximize encoder efficiency and yield optimum results.
• New Preferences Panel with a new option to set the font color of the calculated numerical output displays.
• The code for the Main Window formats display has been rewritten.
• New multi-view Help panel.
• A Main Application Window selection option has been added to the Window menu. If the main application window is inadvertently closed while the application is still running, this option will re-display the main window.
• Updated the Sparkle Framework to ver.1.5 b6. This includes DSA Signatures for enhanced security.
Technorati Tags:
Aspect Ratio Converter
Core Data: Credenza
Here is a glimpse of a new internal use application that I am finishing up. I’m calling it Credenza.
The inspiration for the name is based on my personal interest in Mid-Century Modern design, furniture, and architecture. A Credenza is essentially a furniture cabinet popular in the 1950′s and 1960′s that may have included space to store folders, media, barware, or anything else for that matter. Credenza the application is a custom designed storage repository or database intended to support my subjective methods of logging data relative to my work.
The pictured chart below displays the flow of data based on how I manage personal business records on a monthly basis: The sourceView contains a list of active clients who submit groups (Batches) of monthly assignments (Jobs). For example September Post Production … Program 1, Program 2, Program 3 … and so on. I’ve added a Task Manager that is linked to each individual Job, detailed contact/account information, a text editor, billing/payment records, and past due information. The only thing Credenza lacks is support for generating invoices.
Core Data
For the past year I have been studying the process of building Cocoa databases using Core Data and Bindings in Xcode.
Two specific resources sparked my interest in Core Data: The Core Data exercise in this Cocoa Programing book by Aaron Hillegas, and this Core Data tutorial movie supplied by Apple.
Credenza takes advantage of the basic Core Data principals with the addition of custom code that enhances the functionality of the application.
There were two significant challenges:
• A user option defining the state of the application at runtime
• Migration and Versioning
Credenza is a Document based application. By default a “new” blank document is displayed when launching the application. This can be a handy option, allowing the user to create multiple unique databases within the application. But what if the user uses a single dedicated database? In this case the default blank document would need to be closed, and the user must manually navigate to and open a previously saved database from the File Menu. With a bit of research I figured out how to make this behavior (blank or previously saved) a user defined option. It is now available within the application Preferences.
By default Core Data applications will not display data that was input and saved using a previously created data model. Data Models consist of Entities, Attributes, and Relationships. Using the concept of Credenza as an example: Clients would be a cumulative Entity, and a specific client’s email address would be an Attribute. Relationships create interaction between Entities.
This excellent documentation was a tremendous help. The implementation worked perfectly. The bottom line is that as application development continues to progress, I am no longer at risk of data incompatibility issues. Incidentally the database format is SQLITE, and all saved documents maintain Credenza as the default application by way of a custom file extension (.credenza).
This project is an example of designing and building a useful customized application, all made possible by taking advantage of Core Data’s robust capabilities and simplicity.
-ptfigg.
Technorati Tags:
Cocoa, Core Data, Migration and Versioning
ProRes Proxy …
It’s been two weeks since I installed Final Cut Studio (3).
I spend most of my time working in Soundtrack Pro 3, and I’m happy with the new features. Most notably, RMS Normalization, Voice Level Matching, the “Enhanced” File Editor”, and a few additional editing features within Multitrack Projects (trim in point to playhead/trim out point to playhead, for example).
Final Cut Pro: I’m happy that apple finally added a customizable Timecode HUD, improved clip Speed Controls, and enhanced the process of Exporting work. Upon release of the suite the professional user base was up in arms with regard to the absence of dedicated support for Blu-ray authoring in DVD Studio Pro. However there is now a nifty (but limited) Blu-ray export option available from within Final Cut. Authoring templates are fairly basic, and of course a supported Blu-ray drive is necessary. So far this new feature has been well received. Incidentally, I heard from a reliable source that apple’s FC Studio Product Manager stated that “DVD Studio Pro is designed to author standard definition DVD’s.” Does this mean we will never see embedded Blu-ray support in DVDSP? Time will tell.
And let’s not forget about the new additions to the ProRes Family of codecs. In fact the Proxy and LT versions of ProRes will help with my AVCHD projects and workflows in a big way. It is now possible to ingest and edit transcoded camera footage using the reduced data rate ProRes Proxy codec.
I’ve been importing the contents of entire disc images that include the native AVCHD footage from my camera’s SDHC card and storing locally on a high capacity internal hard drive. This allows me to easily Log and Transfer multiple ProRes formats for editing, and for high quality ProRes (422 or HQ) reconnects in preparation for final output. I’ve been duplicating project edit sequences and adjusting settings accordingly prior to reconnecting to higher quality clips. This method works very well.
As far a disappointments: I was sure that apple would implement a major Final Cut UI overhaul for version 7. This was obviously not the case. Apple’s Product Manager also noted, and again according to sources – that the FC Pro UI “just works”, and there is “no reason to change it at this particular time …”
Anyway, as I move forward I will be spending more time working in and experimenting with Motion. I feel my Final Cut and Soundtrack Pro skills are where they need to be. Not the case with Motion.
Notes:
I’m now running the latest version of Final Cut Server (ver.1.5) and I have ordered a copy of Logic Express 9. I’ll be in touch…
-ptfigg.
Technorati Tags:
Final Cut Pro, Post Production, Video Post Production, Final Cut Studio 3, Soundtrack Pro 3
Panasonic AG-HMC150 AVCCAM
I moved forward and purchased the solid state Panasonic AG-HMC150 (AVCHD) Hi Definition AVCCAM. The camera is in short supply due to it’s enormous popularity. It debuted at NAB 2008 and hit the street in October. After a few months in circulation shooters embraced it and the rest is history.
The camera records to inexpensive SDHC memory cards. Footage is easily ingested into Final Cut Pro using the Log and Transfer mode. Due to the high efficiency of the AVCHD format you can record approximately 100 minutes of the highest quality (1080/24p) video on a 16 gig card that sells for about 70 bucks. AVCHD is essentially high definition H.264 (MPEG-4) video. The tapeless workflow is a major plus.
Additional features worth noting:
• 28 mm Wide Angle lens
• Full manual control. Large manual focusing ring with focus assist
• Recording Formats: PH (high quality) mode: 1080/60i, 1080/30p (over 60i), 1080/24p (native), 720/60p, 720/30p (over 60p) and 720/24p (native). Lower quality settings are limited to 1080/60i.
• Waveform monitor for accurate exposure control
• Dual XLR audio inputs (mic or line) with 48v phantom power
• Extensive support for operational presets. Panasonic refers to presets as “Scene Files.” The default scene files can be edited/backed up and saved on to the camera’s SDHC card and transfered to a computer for future use (the files are standard .txt files).
• A host of professional picture control and operational settings
Let me also mention that iMovie ’09 supports AVCHD video with one caveat relative to this camera: no support for 24p footage. You’re limited to 30p (29.97 fps). The full 1920×1080 resolution is supported.
A few minor issues:
For serious extended shooting the stock battery is insufficient. The optional 3 hr. battery runs about $150.00. The on-board stereo mic is of low quality. Not a surprise. A logical choice is the Audio Technica AT875R ($199.00).
So far the camera is impressive. I’ll be posting additional information about the camera in the coming weeks …
-paul.
Technorati Tags:
24p, Panasonic AVCCAM, Panasonic AG HMC-150
Prosumer Camera Manual Focus …
I recently purchased and returned a Canon HF-S100 AVCHD camcorder. I misread the camera’s specs and incorrectly assumed the camera shot native 24p. Besides this I was not happy with the camera’s manual focusing features. Specifically, there is no focus ring on the lens. There is a small roll mechanism located just behind the lens on the left side of the camera. In my opinion this is a poor implementation.
Pictured to the right we have two new camcorders by Panasonic and Canon. The Panasonic HDC TM350 (AVCHD) was announced in Japan last week. So far no news with regard to US availability. The Canon HV40 (HDV) is the latest edition to the very successful line of Canon HV camcorders.
Notice the placement of a traditional lens mounted focus ring on the Panasonic. Very nice, indeed. What puzzles me is Canon continues to design their prosumer camcorders with this roll focus mechanism (located between the silver buttons at the front of the HV40, pictured right). This design strategy has been widely criticized by the public at large.
I found a very cool piece that may solve this problem for disgruntled HV line camcorders. Irv Design Inc. offers a manual focus ring attachment designed to enhance manual focusing for these Canon camcorders. The ring is made of anodized black aluminum and it is designed so that it will not “block or hinder camera functions.” From what I can see rotation of the ring interacts with the camera’s rolling mechanism and it controls focus adjustments. You simply slip the ring over the outer edge of the camera lens and it locks into place.
It appears the piece is currently out of stock. The next batch is expected in mid to late June. Irv Design states plans are in the works for new models of the focus ring for Canon and Sony camcorders.
-paul.
Technorati Tags:
New Media, Cameras and Camcorders
Pulldown
Confused by the term Pulldown, or Telecine?
Here are the facts:
24p = 23.98 fps (Progressive)
29.97 fps = 59.94 interlaced fields per second, aka 60i
• Interlaced video displays 60 half frames per second
• Progressive video takes entire video frames on the go
• Progressive video requires 2x the bandwidth of interlaced video
Pulldown (Telecine)
This is the conversion process: 24p (film or video) — 29.97 (video).
• 2:3, or 3:2 (aka 2:3:2:3): 60 fields / 24 = 2.5. So each frame of 24p material needs to last for 2.5 frames of video
• 2:3:3:2 is referred to as Advanced Pulldown
Excerpt form Videomaker Magazine:
Here’s how it works: we are transferring 24p to 60i, which means we are converting 24 frames per second into 60 fields per second. The first frame of film is transferred to the first two fields of video and the next frame of film is transferred to the next three fields – 2:3. This results in some frames of film spanning two different frames of video or, to put it another way, some frames of video that are composed of fields from two different frames of film.
-paul.
Technorati Tags:
Pulldown, Telecine, 24p
proKeys for Mac …
Final Cut Pro, Logic, and Aperture all include searchable keyboard shortcut databases. Soundtrack Pro does not. Oddly enough I was never a keyboard shortcut power user. I find it confusing trying to remember specific shortcut banks that vary from application to application. I’m now realizing things flow much more efficiently when using various shortcuts to execute repetitive application functions.
Enter proKeys:
proKeys is a customizable shortcut repository. The left source list includes various (user defined) applications. Specific shortcuts are listed in a basic NSTableView with three columns: Function, Shortcut, and Category. This concept matches the PDF user manual implementation provided by apple. You can store what I refer to as “Quick Tags”, or tokenField strings that support drag and drop. Their purpose? Add and store keyboard shortcut symbols (⌘,⌥,⌦) for repetitive use. Keyword tagging is supported, and I’ve also included a Category Log that simplifies searching for and displaying an entire “bank” of shortcuts that are part of a specific group.
I built the application using a Core Data Model with Bindings. I also implemented a custom file extension that supports SQLITE file/data format backups. The demo dbase includes the entire group of Soundtrack Pro shortcuts.
Now I need to consider distribution. I think it’s a well designed, simple tool that many will find useful.
More news to follow …
-paul
Technorati Tags:
Final Cut Studio 2, Soundtrack Pro 2, Video Post Production
aspectRatio: Divisible by 16 …
Here is a glimpse of what I have planned for the next release of aspectRatio:
At this point I’ve implemented a suggested dimensions method that displays values evenly divisible by 16. The results are triggered by the Target Width and returned Output Height calculation.
Select MPEG formats are based on 16×16 macro-blocks. Evenly divisible (by 16) output dimensions will maximize the efficiency of the encoder and yield optimum results. For example: a purist would prefer a small 16:9 distribution video to be 480×272 instead of the common 480×270
Also included in this release: a user defined output font color preference setting [orange/red], and a Menu option that re-opens the main UI window if the user inadvertently closes it while the application is still running.
A release date has yet to be determined …
-paul.
Technorati Tags:
Aspect Ratio Converter, aspectRatio, Final Cut Pro, Media Distribution, Video Post Production
aspectRatio ver.1.8 Released …
aspectRatio ver.1.8 is now available.
New in this release:
• The Main Interface (front panel) now displays the selected NTSC preset
• Film Standards and PAL Conversions panel
• NTSC D1 Conversions panel (square and non-square pixels)
• Updated Controls HUD (available in the Help Menu)
I updated the application website as well.
-paul.
Technorati Tags:
Aspect Ratio Converter, aspectRatio, Media Distribution, Post Production, Video Post Production
RGB Float Values with iPalette Pro …
Below is a snippet of Objective-C code using the NSColor Class to set the background color of a textField.
Notice the color (a shade of blue) is set with float values for Red (0.1336), Green (0.5266), and Blue (1.0000). I opened Photoshop and I didn’t have much success finding a way to return RGB float values for displayed colors. I’m sure the feature is available. I’ll dig deeper when I have some time.
A while back I purchased a copy of iPalette Pro and tucked it away. This is a nifty design tool that supports custom color management and storage. It’s very well designed and fun to use. It’s another example of a $10 Mac Shareware gem.
Take a close look at the data located at the bottom of the RGB Test window. Exactly what I’m looking for: RGB float values.
I’m glad I bought iPalette Pro. It’s worth taking a look at …
-paul.
Technorati Tags:
NSColor, Cocoa, iPalette Pro
What’s New? …
AJA IO/LA
Today was a productive day. Besides finishing up on a few programs for IT Conversation’s distribution and client work, I phoned AJA Video and reported a sudden device failure. My IO/LA is a multi-funtional analog video breakout box that allows me to output my Final Cut timeline to an external NTSC Production Monitor via component video output. This is an intricate element in my studio.
I purchased this device some five years ago from an authorized dealer. Much to my surprise it is still under warranty. This was good news, however things get better. AJA Headquarters is located somewhere in southern California, I’m in NYC. Can you believe I will be receiving a brand new boxed device tomorrow before 12 noon eastern? What an incredible service gesture. The technician that I spoke to actually apologized for the inconvenience, and shipped my new device less than two hours after the completion of our phone conversation. Fantastic Service …
Flux
I’ve added a new set of tools to my production arsenal. In the past I’ve mentioned the Flux family of professional audio plugins. I decided to consider issuing a formal endorsement.
It didn’t take long to realize this company produces and distributes some of the finest audio production tools that I have experienced to date. I’m finding the Pure Compressor and the Pure Limiter to be most useful. These plugins are well designed, and most of all – offer stunning sonic processing results.
I continue to use various plugins offered by Wave Arts, most notedly MR Noise, and my number one favorite tool is still iZotope Ozone. I believe there is no better deal out there when it comes to a multi-funtional mastering tool.
Aperture and Nikon D300
I finally sold my trusty Nikon D1x Digital SLR to a good friend (a pro fashion and architecture photographer) located somewhere in southern Florida. I replaced the D1x with a Nikon D300. I’m real happy with it, although I would have preferred the D3. At this point I could not justify the $5K price tag.
I went ahead and purchased the MB-D10 Extended Battery Pack for the D300. This adds an increase in effective shooting FPS as well as vertical orientation control dials for ease of handling. This camera is critically acclaimed. Needless to say I have no complaints
The purchase of the new Nikon triggered a subsequent purchase of the latest version of Apple Aperture. In the past I’ve hesitated purchasing Aperture due to an overwhelming amount of complaints expressed within the pro community. This all changed with Version 2.0 (since bumped up to ver.2.1).
Apple recently opened up their development platform for the creation of third party Aperture plugins. I’m excited to see what turns up in the near future. Last but not least, Apple dropped the price. Needless to say it was time to dive in …
Final Cut Server
Final Cut Server is up and running here.
This was probably not my most cost effective purchase based on the package pricing. FC Server is available at the base level for $999. This includes the server application and 10 client licenses. ($2K for unlimited client licenses).
Currently I am running two client instances with access to the server, installed on my MacPro. I’ve studied the administration and implementation notes, and at this point I’m pretty well on my way. My initial impressions are very positive. More on this in the future.
My plan is to prepare for certification. I believe this status will be a future asset.
aspectRatio 2.0
My simple aspectRatio conversion tool has landed in the hands of a few appreciative producers. If you are finding it useful, I’m glad. Above is my vision of version 2.0. You will notice I’ve added a custom designed Attribute Inspector. This displays important file data, including frame rate, bit rate, duration, track formats, creation date, and location.
Besides the obvious integration of my functioning conversion tool, I am working on implementing a customized Quicktime Component Exporter. This will add support for transcoding and outputting multiple file formats.
Keep in mind I would not have been able to get this far without the help of a good friend as well as the abundance of material that is available on the Apple Developer Connection Website. My skills are still limited. I’m coming along. At this point I consider myself more of a software architect as opposed to a developer. Is this warranted? Not sure. I developed the concept, designed the UI, and did what I could to bring it to life.
Currently I have no definite distribution plans. It all depends on how things pan out with those who have graciously offered assistance with this project.
Stay tuned …
-ptfigg, ny.
Technorati Tags:
AJA Video, Apple Aperture, Aspect Ratio Converter, Final Cut Server, Flux: Sound and Picture Developement, Media Distribution, Nikon D300, Video Metadata and Annotation
Ford Model Agency Embraces New Media …
How did Ford Models become one of the hottest things on YouTube? The sub heading on the cover of the latest edition of Inc. Magazine states: “A viral video makeover helped it [Ford Agency] boost revenue 140% and land a big private equity deal.”
Interesting …
It’s important to note this agency has been in existence for six decades. In 2002, Katie Ford decided it was time to enter the new media space. A headhunter pointed Katie to John Caplan, formally the president [till 2001] of About.com. His challenge? Could Ford Models profitably enter the new media world, and if so – how?
Currently the agency has produced and distributed 1000+ short format videos that feature an informal style. The segments include Ford models and associates engaged in the informal chatter and interaction that typically takes place backstage during fashion shows, photo shoots, and shopping excursions. The videos have attracted ad agencies and apparel manufacturers, expressing interest as potential sponsors. Ford also received a “significant investment” from Stone Tower Capital, a New York based investment firm that manages $14 billion in assets.
The Ford article documents a specific example of how the agency and their production staff strive not to produce what the subscriber base may classify as a commercial. For example – an apparel manufacturer teamed up with Ford to produce a campaign consisting of four videos. In one segment a few Ford models chatted and one mentioned picking up a pair of jeans available from the apparel creator. It wasn’t an ad, just a reference. A rep. from the apparel company points out “People don’t pay much attention to a brand when it’s the brand doing the talking. What people listen to are neutral influencers, and models are perfect for that.” This campaign, along with a few additional incentives was responsible for $500,000 in register sales in one month.
The article also mentions the videos are viewed by thousands, and the best part of all – they cost as little as $200 to produce.
Welcome to the new media space …
** I highly recommend Inc. Magazine. This month’s edition also features A Complete Guide to Marketing in the Digital Age.
[this is not a paid endorsement]
-paul.
Technorati Tags:
Inc. Magazine, Ford Models, New Media
Audioarts Air 1 Console …
Audioarts Engineering, a division of Wheatstone Broadcasting recently debuted their attractive small footprint Air 1 professional audio broadcast/production console. The company states the Air 1 was “specifically designed to meet the needs of on-air, production, news applications, remotes, and the emerging podcasting market.” Features include Dual program Buses, Cueing support, Long Throw Faders, Switchable PGM meters, 2 Monitor Outs, 2 Mic Preamps, Headphone Amp, Solid State Illumination on all switches along with a useful On-Air Indicator light.
Additional features include balanced 1/4″ I/O, external power supply for cool – hum free operation, and bottom mounted Dipswitches designed for easy programing. Lastly, the mic inputs can be programmed to automatically MUTE the Monitor Output when activated. The Air 1 is 2.5″ high, 15.25″ wide, 11.5″ front to back.
No doubt this is a slick device. My guess is professional fans of the Audioarts product line will find this console very attractive. It’s perfect for small scale operations and remote productions. However due to its $1800 price tag, I don’t anticipate wide adaptation within the new media/podcasting space. Standard, sub $1K audio mixers seem to be satisfying the needs of *most* new media producers.
-paul.
Technorati Tags:
Audioarts Air 1, Broadcasting, Broadcasting Gear, Radio Post Production, Broadcast Consoles
Java Popup SDK …
While we are on the subject of software development …
I’ve just completed building a new Software Development Kit that explains how to implement standard Java based site popup windows. I’m referring to the basic method that I am using on this site to display Screencasts via the siteMediaConsole link, located in the upper right sidebar.
The SDK includes two HTML documents that can be customized and edited to suit your needs. I’ve also included a short sample Quicktime movie that can be used as embedded media based on the preexisting code in the files. Simply upload the movie to your server and prepare the files.
The HTML documents require a few simple edits prior to uploading [URL references that will point your browser to these files]. After all is said and done you will be able to test the popup implementation prior to customization.
Lastly I included detailed documentation, as well as a Quick-Start Guide to bring you up to speed in no time.
Disclaimer: This implementation requires basic HTML authoring skills. Apply at your own risk.
-paul.
Technorati Tags:
Java Popup, Media Distribution
Logic Express 8: Recommended …
Some time ago I decided to step away from Digital Performer due to ridiculous universal binary upgrade pricing. Soundtrack Pro’s new support for multichannel I/O served as a proficient replacement – until Apple announced Logic Express 8. It just so happens an old stored version of emagic’s Logic 6 provided me with eligibility for a $99 Logic Express 8 upgrade. Inserting the original Logic 6 USB key permitted installation of the new version.
I think it’s important to note that I am not a composer or musician. Considering many of the supported technologies and concepts included in the Logic product line are intended for this type of producer, many features are useless to me. And, Logic Express 8 lacks an important feature : support for Surround Sound production. Soundtrack Pro 2 provides me with all necessary options in terms of recording and tracking. And it does offer intuitive Surround Sound support. Let’s not forget how well it coexists with Final Cut Pro, providing a viable video and motion picture sound production tool.
So why do I need Logic?
The answer is I don’t. On the other hand I think it will serve me well as an option for new media production workflows and projects. I’m particularly fond of the new consolidated window UI. Apple has done a fabulous job improving the aesthetic attributes in Logic 8. In fact as a side note – it’s hard not to notice just how dated the ever so popular ProTools looks compared to Logic in it’s current state. No doubt ProTools is a solid performer, and I respect it’s stature. I just think it’s time for Digidesign to clean up the interface and improve it’s archaic look and feel.
Logic supports the creation and access of templates, and the entire GUI can be sized accordingly based on the requirements of a project. Additionally, multiple instances of independent projects can run in unison. It’s a great way to manage a complex workflow. The bundled plugins are excellent, much the same as the set included in Soundtrack Pro 2. Channel routing is intuitive, and best of all – track parameter automation is simply cutting edge. It’s the best I’ve seen in terms of simplicity and efficiency.
Last week I recorded a few two channel telco interviews with independent Telos One Digital Hybrids sending interview participant channels to discrete tracks. Dynamics processor plugins were incorporated on inserts, and the application performed flawlessly. The workflow was saved as a template for future use.
One final note: In my opinion Logic Express 8 fills a gap. For those who are interested in moving away from Garageband to something that is professionally oriented, Logic Express 8 is my recommendation. It’s affordable, and a vast array of options and support solidify my assertion.
-ptfigg.
Technorati Tags:
Final Cut Studio 2, Logic Express 8, Post Production, Pro Tools, Radio Post Production, Soundtrack Pro 2, Video Post Production
iMovie ’08: A Stunning Achievement …
While preparing for this post I was thinking to myself – indeed I must be impressed. I’m referring to iMovie ’08, and the fact I have come to terms with making a formal reference to what is generally considered a consumer application.
After spending the past day experimenting with Apple’s new offering, I must say that I totally disagree with the nay-sayers. In fact I’m kind of tired of hearing what appears to be the new battle cry …”where’s the timeline?” As far as I’m concerned there is a timeline. It’s just not what most die-hard iMovie geeks expected. Sequential placement of clips with support for transitions, beds, and common edits is present – as plain as day.
What’s with all the fuss?
What I find most interesting is that many, if not all of the opinions expressed by experienced Final Cut editors, developers, and new media producers are overwhelmingly positive. It seems that most of the displeasure is emanating form the iMovie HD timeline yearning aficionado sector. Honestly? I think they are missing the point …
Here is my take: it is 100% true there are many questionable omissions form this piece of software. However I believe this redesigned application concept opens up a world of productive simplicity and presents opportunities for novices, intermediates, and professionals. My guess is Apple is listening. In fact, I’m willing to bet that within 6 months, iMovie ’08 as we know it will sport all missing application attributes, and in the end silence the critics.
As a footnote, let’s consider what is available to us: iMovie HD, iMovie ’08, Final Cut Express, and Final Cut Pro. How can one possibly complain or feel slighted with this offering? My advise to the nay-sayers is if you are unhappy with iMovie ’08, continue to use what you are most comfortable with. Or, if you have no interest in experiencing the imminent evolution of iMovie ’08, consider upgrading to Final Cut Express.
So what do I like about it?
… to be continued.
-ptfigg.
zeitAnker: Annotation Transcriber …
I present one of the most useful and affordable applications that I have come across to date – Annotation Transcriber by zeitAnker.
The first thing you will notice about this application is the slick GUI that sports an impressive industrial aesthetic. To the right of the media viewer and transport area is a full fledged text editor. The lower area of this section can be resized to reveal an audio waveform view of incorporated media clips. During playback, scrubbing, or pause, the user can insert specific text notes or snippets, as well as generate timecode references into the text editor. The numerical timecode references are transformed into hyperlinks that queue the media to the exact interval when clicked. This is an extremely useful feature. Poster frames are created by simply dragging the displayed reference frame into the text area.
The developer incorporated features and support for distance viewing and control. Simply launch the user defined enlarged timecode display, sit back, and control the application via Apple Remote.
The real strength of this application lies in it’s abundance of output options, including: standard text, rich text, Final Cut Pro Marker, DVD Studio Pro Marker, HTML, and standard XML. I’m especially fond of the Final Cut Pro export option that actually generates a new project and inserts markers in the timeline based on your timecode references.
Annotation Transcriber is the perfect tool for managing clips and distributing documents among peers that contain annotations and metadata slated for distribution. It’s updated regularly and the developer is extremely helpful. I suggest you take it for a spin. You’ll be impressed.
Annotation Transcriber sells for $49 US. zeitAnker provides a trial download as well.
-ptfigg.
-
-
About
My intention is to provide a useful resource for anyone interested in producing reference standard media for the Web. I'll share my thoughts and insights on Podcasting, Webcasting, Screencasting, and Broadcasting. I'll explore the entire group of Apple Pro Applications, provide personal documentation, and supply tutorials. I will also focus on various aspects of metadata management and media annotations.
-
Production Documentation
