Scott Simmons at the Pro Video Coalition takes a look at Red Giant’s soon to be released BulletProof.
It is basically a tool for DIT’s. It easily allows the DIT to Import, Organize, Review, Refine and Export your Clips. Allowing backups, simple color corrections and transcodes before the edit.
It is going to be $199 when it is released, though will start as a free Beta as I have previously posted.
Electronista has the news on Intel showing off 20GB Thunberbolt which could handle uncompressed 4K and a 4K display.
Now this would be an awesome addition to a new MacPro, though again, I wouldn’t hold my breath!
Electronista has a rumor that it may happen this month, though I am not holding my breath. I am betting on the WWDC, whenever that is. And I am also betting it won’t be as much as we want in a replacement.
Damn this thing looks bad ass. I would love one, but it is too much for me, but a great price instead of a Steadicam.
Creative Cow has the press release.
A free edit solution is an awesome idea, and one that is supposed to quite powerful. Looking forward to taking it through it’s paces.
HD Warrior has a great writeup on the $995 micro 3/4 camera that can also be adapted to use Super 16 lenses.
Cinema5D has the scoop on 2 new Black Magic Cameras being released at NAB, and leaked thanks to flags.
You can see them at No Film School.
The $3995
Blackmagic Production Camera 4K
Compact 4K camera with large super-35 sensor, global shutter, Ultra HD and 4K support, built-in SSD recorder, touch LCD metadata entry, compressed CinemaDNG RAW and ProRes recording, Thunderbolt and EF lens compatibility, Includes DaVinci Resolve and UltraScopes.
The $999 Portable for Micro 3/4 Lenses (damn was hoping this would work with normal canon lenses).
Blackmagic Pocket Cinema Camera
Ultra-portable super-16 digital cinema camera with super wide 13 stops of dynamic range. Super 16 sized 1080p HD sensor, built in SD card reader, High resolution LCD, ProRes and Lossless CinemaDNG RAW recording, Active Micro Four Thirds lens compatibility, Micro HDMI monitoring with Overlays.
The 4K will make up for the decencies of the current camera with a Super-35 Sensor! And the $999 portable could be mindblowing! A point and shoot sized camera with those specs. Damn! That could really change everything and be kind of what RED initially promised with the SCARLET.
You can also Check it out at the Sorenson Media Website.
Squeeze has always been a top not compression suite, and it has only gotten better here, with a great and easy to use interface, that is much nicer to look at and easier to interact with than Media Compressor it’s only real competitor.
Great to have integration with Adobe, AVID and FCP so you can compress right from them (though I still like Media Compressor being able to work from the project files).
The filter to add source timecode to a compressed clip is very very cool, and could dave so much time.
Pre and Post Roll stitching to add a video to the head or tail of a compression is a very cool idea.
It is $799 for standard and $999 for Pro which will render ProRES on a mac and AVID DNxHD, and upgrades depend on which version you currently have!
No idea what mine would be since previous to this version I have not been able to get Squeeze to work on my Mac since version 6, which came with Media Composer, but finally this version has solved that problem, and Squeeze does now run for me and run very well.
The Pro Video Coalition has the coverage of AVID’s Sunday night event. And AVID has a video at their web site, and you can sign up to get more info when it arrives.
Instead of 4K they have Flex Frame which lets you edit in either 720 or 1080, but have up to a 4k or 5k frame that you can pan and scan within (pretty lame since you can do 4K in FCP 7!). I am sure it will be a nice pan and scan, but still not very impressive.
And you can now treat any AMA folder as if is an AVID Media Folder, so it will automatically process, and can now transcode in the background (though I still prefer Premiere where you don’t need to transcode). And AMA is promised to work better. Background transcoding is great (though I would be happier with not having to transcode) and watch folders are a good idea, but nothing revolutionary.
Faster Audio waveforms is a much needed feature, as it always seemed slow and unresponsive. Still have to look at the waveform in the timeline for the viewer clips though, which is slow.
The price drop is a good idea, and is what it should have been since their $999 Final Cut Pro Crossgrade offer. $999 for Media Composer 7, and $1499 for Symphony and upgrades from 6.5 for $299 and $399 for earlier programs. I hate how 7.5 will be a paid update too, maybe they need something like creative cloud for $50 a month?
I hope there is more as this doesn’t seem like the revolution that will put AVID back in the black. I hope AVID manages to stick around, but I would think they need to start really making impressive additions to Media Composer and not just ho hum features.
Adobe has put up it’s page on Adobe Anywhere, the exciting new technology which will let you edit from anyplace, with all your data stored on a single server! This is going to be interesting to see what kind of server it needs to be run on, but this could really change things.
Unfortunately you don’t see enough places willing to let editors work remotely right now, but this could change. They could have a couple of high end suites in the office, for meeting with producers and clients, and the rest of the work could be done from home without even having to give the editor the information, it just all streams. Wow! Just have to get companies to understand how great this is, so us editors can spend more days working from home!