Filipe Esposito at 9 to 5 first reported on this, from a test by Andy Somerfield at Affinity Photohttps://9to5mac.com/2021/10/25/apple-m1-max-gpu-beats-6000-amd-radeon-pro-w6900x-in-affinity-benchmark/
This is pretty amazing, beating a $6000 GPU from the 2019 MacPro! Wow. So the Apple Silicon iMac Pro and Mac Pro will certainly be impressive machines.
Things sounds great so far, and it really gives me hope for the Apple Silicon iMac Pro and Mac Pro.
Still hope that plug in makers start speeding up the process of re-writing their software for M1. It disturbs me that even companies like Maxon with Red Giant hasn’t upgraded everything to M1 yet, even though it is a subscription, which means they really should be upgrading their applications quickly, because I am paying for them constantly. At least Adobe has the Beta of After Effects working on M1, but it is going to be limited on plug ins for sure.
So with the iPhone 13 and iPhone 13 Pro, Apple added a cinemtatic mode to video that is basically Portrait Mode for video, which does a post processed Depth of field using the different lenses to create a depth map. It is not going to be perfect, but certainly will look more cinematic than the deep depth of field you normally get with an iPhone lens, and you can re-focus after the fact in Final Cut Pro, iMovie and in the Photos app. It even has HDR color depth, but then why is it only at 30 Frames Per second?
I just don’t get what Apple was thinking here, especially since it should be easier to process 23.976 than 30 frames a second. And films in movie theaters are in 23.976, and our eyes are used to that amount of motion blur to be cinematic, and not 30 frames, which is much more TV looking, as everything is sharper.
I think eventually will add 23.976 to cinematic mode, but likely not till IOS 16 or the next iPhone with better Cinematic mode.
Honestly I have an iPhone 11 Pro and Cinematic Mode would possibly tip me to getting a new iPhone, but it is the 30 FPS thing that really screws it up for me.
Now I do have a weird relationship with 23.976 vs 29.97, as when I am cutting commercials I would prefer 29.97 because Motion graphics looks less stuttery at 29.97, but we are talking “CINEMATIC” here and for “CINEMATIC” that is 23.976!
I think Apple made a mistep here, and hope they will fix it sooner rather than later.
Of course I also think that they should have figured out a way to use the LIDAR on the Pro model which is used for low light photos to make a better depth map. I know it would split cinematic mode for the 12 and the 13 pro models, but a better depth map would be welcome.
And this means it is time for the awesome deep dive review with Andrew Cunningham at Ars Technica. This is always the way to learn the ins and outs of the new system, and I always look forward to the article, and have been reading them for every OS release for so many years.
I would love to upgrade, but I always have to wait. Before you upgrade you should always check out what apps might have issues and to find out I always check out the forum at MacRumors, which has a post with a sticky at the top with Apps that are working and not working. Now it doesn’t do version numbers, so it will almost never answer my most pressing issue, which is what versions of Premiere Pro will work on the new OS (yes the new version works). Now it does seem better than most OS upgrades, but some apps are still having issues or sure.
I have companies that work completely on 2019 (which you can’t even install and should not be using anymore), and I don’t know how you run a newish MacPro on that old of an OS, but I digress.
Adobe has updated it’s awesome drawing app for tablets, Adobe Fresco to it’s October 2021 release, version 3.0.
It’s new features are:
•Apply Motion (ipad and windows) which I am interested in checking out.
•Perspective Grids (ipad and windows) to help do proper perspective
•Send to Illustrator on iPad
•Vector jitter brushes to give a more organic feel to vector brushes
Awesome, I need to spend more time in Fresco as it really is such an impressive and powerful painting program, and am certainly interested in seeing what the motion does, and see if will be useful for any video projects in the future.
So yesterday I had a post how Adobe’s new color correction feature in Premiere Pro 2022 didn’t do anything to fix the gamma shift issue on Mac on exports, and I posted a link to my post in a facebook group on Premiere Pro for Pro users.
Responses included finishing everything in DaVinci, which does nothing about Premiere’s handling of the issue, and people saying just work on a PC which will fix the issue, though it won’t if you have people viewing on Mac, because the gamma shift will happen then.
And then there were the responses about putting the Gamma 2.4 tag in DaVinci in fact tagging the clip wrongly to display correctly on Mac, and I decided to do a little test with Parallels to see how the clips show up in Windows. And I know that putting the Gamma 2.4 tag on your footage is ignored by YouTube, which ignores a 121 tag on footage and in fact forces 111 which will then have the gamma shift.
So to start this is short film I am working on, and the first part are the clip set with the DaVinci Gamma tag set to Gamma 2.4 on export.
So I exported the show with this tag.
Now I wanted to see about the tags and how they would look in Windows, so I have Windows 11 installed in Parallels, and I used both just Windows viewer and VLC in Windows, now I just used whatever size they opened at so I will scale down the other images to match framing. And the frame might be slightly different as I couldn’t figure out how to go frame by frame in Windows player. This is all on my iMac Pro, though screen shotting form mac, find it interesting that the 121 Gamma 2.4 tag matches on Windows to Mac, but VLC on Mac and WIndows doesn’t and VLC on Mac looks closest to what is on my external monitor.
And this one I don’t get at all, but here it is, VLC on the Mac vs VLC on windows, the mac version seems correct, and closest to what I am getting on my external monitor. If anyone can explain it, please contact me about what is going on here. Windows 11 is on the same display as the mac, though I am taking the screenshots from the Mac into the parallels Window.
I am very confused about this last one, I think the VLC on the mac looks most like what the image looks like on my external monitor, but on the mac at least the clips exported from DaVinci with the 121 Gamma 2.4 tag look closer to the image than ones exported with the 111 tag which completely show the weird gamma shift.
So for exporting from Premiere Pro, I guess if you can get people to use VLC is the best option, but if you can’t I would love if Premiere was able to add the 121 Gamma 2.4 tag to exported movies because it will look better on client machines.
I have also read the YouTube ignores the 121 tag and plays video at 111, so they will look blown out on YouTube. Does Vimeo do the same? I might have to do some tests and see what the results are when I have a chance.
If anyone has any thoughts please let me know.
EDIT:
So since there is such a difference in VLC, I decided to try another app that doesn’t do ColorSync on Mac and that is Firefox in Windows 11 and Mac.
So strangely Firefox looks different on Mac and Windows. Better on Windows, but not as bad as Mac Quicktime for sure.
OK so I have posted about this at Adobe Uservoice to ask Adobe to add the ability to change the gamma of a clip on export. I know you don’t want to do this for final export, but for clients viewing copies, it would be nice to guarantee that those on Mac and those on Windows see something approximating what I see on my external monitor.
So Adobe new update of Premiere Pro says it includes Color Management for H.264 and HEVC as a new features. The feature describes itself as the following:
With new color management for H.264 and HEVC formats, Premiere Pro interprets the correct color space when importing these formats, including 10-bit and HDR files. For exports, Premiere Pro includes the correct color space metadata with your output files, ensuring that your colors will display correctly on the destination platform. When creating new sequences, you can choose to Match Source or apply the color space you want to use, depending on your working media.
https://helpx.adobe.com/premiere-pro/using/whats-new/2022.html#color-management
I was hoping this would add the ability to add tags to exported H.254 videos so that they would display correctly anyplace, but especially on Macs. Macs of course have the weird gamma shift issue because of how they handle color, so Apple’s apps work correctly, but everything else has the wrong tags, so you have to watch your video in an un-color managed app to see what the clips will actually look like.
Now DaVinci Resolve has the ability to change the gamma tag in an exported H.264 clip.
If I set the Gamma tag to Gamma 2.4, the exported H.264 video plays back correctly both in Quicktime as well as in VLC. I was hoping this is what Premiere was doing.
Unfortunately I immediately opened my current Premiere Pro 2021 project in Premiere Pro 2022 and did an H.264 export matching the export i did yesterday, and as far as I can tell it is exactly the same as the clip I exported yesterday with the gamma shift and all in Premiere Pro.
I checked out the video info in Quicktime on the clips, and the clip from 2021 and 2022 match exactly like this:
Interestingly a video exported from DaVinci with the Gamma 2.4 tag does show up with different info in Quicktime. It looks like this.
Unless I am completely missing something in Premiere Pro, I am not sure what they actually changed here.
I have posted about this at the Adobe Support community to see if anyone there knows what is going on, or if I have done something wrong, and if I get any responses I will update you.
Malcolm Own at Apple Insider has an article on M1 Pro and M1 Max GPU performance versus Nvidia and AMD.
Now it uses teraflops to compare it to what the equivalent processor is, meaning the top of the line is equivalent to a Radeon RX Vega 56 or GeForce RTX 2080.
Which also means my Radeon Pro Vega 64x, which can do a bout 13.5 teraflops (12.5 teraflows for the 64) is still better, but still slower than a RTX 3060 Ti or above processor.
Final Cut Pro has hit version 10.6.
It includes the ability to edit cinematic mode videos. And on the M1 Pro and Max it can not support 7 streams of 8K ProRES at full resolution (they do have a ProRES playback module!) and export ProRES up to 5x faster. And it now has a built in Object tracker
Motion can render 2x faster and cvan play 2 streams of 8K video at 5x the frame rate.
And on the MacBook Pro Compressor can transcode HEVC Video up to 2x faster and transcode ProRES up to 10x faster.
Logic Pro hits version 10.7
And this one focuses on Spacial Audio, with Dolby Atmos Music files.
Always love Apple giving new free upgrades to their software. Now I just hope Adobe gets support for Cinematic Mode soon in Premiere Pro.
Apple has announced new M1 based MacBook Pro in 14″ and 16″ with the new M1 Pro and M1 Max chips.
And the rumors were right there is a damn divot for the camera just like the iPhone and iPad.
These are much more pro machines, with a much more pro price. And you had better pay for as much as you can as you will not be upgrading anything after you purchase the machine.
For $1999.00 you get an 14″ with 512 SSD 8 Core CPU, 14 Core CPU and 16GB of memory. It is an additional $400 to move to 32 GB of Memory, and $200 to move to a 10 core CPU, 14 core GPU, or $300 for 10 core cpu, 16 core gpU, $500 to movew to the mac with 10 core CPU and 24 core GPU, or $700 for Max with 10 Core CPU and 32 Core GPU.
Or for $2499 you get the 10 Core CPU, 16 Core GPU and 1 TB SSD with 16 GB of memory, which makes a $200 upgrade to M1 Mac with 24 core GPY or $400 for the Max 32 Core GPU, with the same $400 to go to 32 Gigs gigs of memory.
The 16″ starts at $2499 with 10 core CPU, 16 Core GPU, 16GB of memory and 512 ssd, then $2699 for the Same with 1TB hard drive or $3499 with MAX 10 Core CPU and 32 Core GPU with 32 GB memory and 1 TB SSD, this top model can hace 64 GB of memory for $400 additional, and SSD’s are $400 for 2tb, $1000 for 4tB and an eye watering $22000 for 8TB. So for a top of the line with 2TB SSD and 64 GB of RAM you are talking $4299.00.
Damn I would love to play with one of these and see how well this thing edits, it sounds like the first pro machine that could really handle some high end editing, graphics and color correct. And it gives me hope for the non-portable high end machines.
I do this means when the M2 Pro and Max chips come out, hopefully they will include a 128 RAM version, and have at least 64 cores for video, but maybe even 128. Sure it will be a 10,000 machine at least, but with that and probably 4 cores for ProRES Playback we are talking some serious editing machines!