Installed a PC NVIDIA KEPLER GTX670 Video Card in my MacPro for CUDA editing power

While I have an NVIDIA Geforce GTX 275 Mac Edition, it is very much old tech with only 240 CUDA cores for working with Premiere Pro. And it is about the fastest there is (other than a QUADRO 4000, but even that is old tech compared to current PC video card technology).

One solution is MacVidCards and their Ebay Site. These guys flash GTX 5xx series videos card with Apple Firmware so that you get full functionality on a Mac, including boot screens and EFI (so if you hold down option you can select hard drives, or go into the terminal before you hit the desktop). This is a great and easy solution for most people, though it leaves out Kepler video cards, the GTX 6xx series cards that are the latest and greatest with the most CUDA cores for real time playback in Premiere Pro.

As of Mountain Lion putting in a GTX 6xx series or Kepler has gotten a lot easier. This is because Mac OS X and the latest NVIDIA drivers now include drivers for the MacBook Pro 15″ Retina Display which is has Geforce GT 650m, so there is now some Kepler support in OS X. This means that PC Kepler cards will run in Mountain Lion, with a couple of caveats. One is you don’t get the boot screens, because the video drivers don’t kick in until just before the desktop shows up. The second is that due to a setting in OS X you can only have up to 2GB of RAM in a video card, if you have more you won’t get OpenCL acceleration. It is on this point that the excellent Netkas site comes in. Netkas has figured out multiple methods to make 6xx series NVIDIA cards with over 2GB of RAM work on a Mac.

Yes there are bigger cards with more CUDA cores, like the GTX 680, but it requires 8 pin power, and the Mac only supplies 6 pin power, so you will have to run an external power supply to get it to work, and the GTX 690 is basically 2 video cards in one, so the mac will have trouble using the dual cards, and you won’t get the benefit (except in boot camp into Windows). Basically the 670 uses 2 6 pin power adapters, so your mac can power it. I picked up an EVGA Geforce GTX670 FTW+ 4096MB GDDR5 Graphics card and installed it.

There are the instructions for a GTX 670 and the instructions for the rest of the 6xxx series cards on how to get OpenCL working on a card with more than 2GB of RAM.

Now I had problems getting the GTX 670 instructions to work.

I started to a TechTool Pro Safety partition I have on a second drive and did the replacement and repaired permissions and OpenCL was not fixed. After much fiddling I couldn’t figure it out, and having read elsewhere on the Netkas forums to also do the Hex edit, I also did the 32 and the ML Hex edit fixes, repaired permissions (A VERY IMPORTANT STEP AS YOUR COMPUTER MAY NOT BOOT IF YOU DON’T DO IT). I used the excellent HexEdit to edit the file.

I tried getting help on the forums, but was basically told how stupid I was and that I had done it wrong (which was not the case). Finally I decided to re-install the latest NVIDIA drivers and see if that did anything, and after restarting, I ran LuxMark (to test OpenCL speeds) and low and behold it now worked.

Honestly I am not sure if I just needed to do the Hex Edit only, as the instructions I saw at Netkas said to try the file replacement for the 670, or if it really did require me doing both to get OpenCL acceleration activated, but doing both certainly worked for me with the addition of re-installing the NVDIA Drivers.

The next step is now to enable CUDA for your new video card in Premiere Pro and After Effects CS6. VidMuze has an excellent video on how to do this, and a download file that gives specific instructions. This was simple in comparison to the hex file thing, which was not hard, but certainly not this easy, but this does require some terminal use, so you should be comfortable using the terminal in your mac.

I now have 1344 CUDA cores for Premiere Pro and After Effects, and am looking forward to taking Premiere Pro CS6 and the Mercury Playback engine for a spin with more than 5 times the CUDA cores, twice the RAM and a much faster and newer processor. I will let you know how it performs.

Surgery Update, 13 weeks and sore as can be!

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13 Weeks out tomorrow, which means I can finally go to the chiropractor soon.

Also am back to work and am suffering for it. I can tell you the drive from North Hills to Downtown, Los Angeles is not pleasant right now. Not only does the surface of the wound hurt, even with a t-shirt, but the muscles are so sore from the drive that I feel maimed. I was lucky enough to be able to work from home for a couple of days, but no longer. Back to Downtown tomorrow and my soreness will only get worse from driving in the traffic.

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As you can see the main incision has stretched out and is a brutal red right now. Youch!

And even turning funny is really not feeling good for the sore muscles right now. My back still hurts, and my chest just feels awful. The worst the muscles have felt since the surgery honestly. I didn’t do anything on last Saturday because of it, but edging the lawn on Sunday certainly did help things.

Lets hope it starts to feel better from constant use, as it should be fairly healed at the 3 months mark. Wish I could take some more time off, but we need the money too much (am even missing a vacation my wife and her family are going on because of the job I am on).

Lets hope this starts feeling better really soon!

New Samyang Cinema Lenses for DSLRs

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Cinesopophilia has info on 3 new Samyang Cine Lenses all with T Stops. T stops mean smooth aperature so it can be pulled. And these are made for Nikon and Canon DSLRs.

They have a 35mm t1.5, a 24mm t1.5 and a 14mm t3.1 lens coming out.

Samyang lenses sell as Vivitar, Rokinon, Wlimex, Bower and Pro-Optic lenses. The Rokinon 35mm T1.5 for Canon is at B&H for presale at $549.00. And the Rokinon 8mm t3.8 fisheye for Canon is at B&H for $349!

Lightwave has announved Lightwave 11.5

CreativeCow has the press release on the new release of Lightwave. It is also at NewTek from it’s announcement at Siggraph 2012.

It will include a new Genoma character animation and rigging system, predator and prey flocking, instancing, soft-body bullet dynamics, interchange support for After Efffects, and workflow enhancements.

I wish Adobe would include as much in a free point release for owners of the previous version!

Red Dragon Sensor ‘Single most significant sensor in the history of image capture’

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Engadget has an update on the new Red Dragon 6K image sensor. Jim Jannard claims it has less noise at ISO 2000 than the previous sensor has at 800 (it’s standard setting) and offeres 15+ stops and 120FPS at 5K. It will be $6000 for Red Epic customers and they haven’t said how much it will be for the Scarlet X.

Of course you usually take what Jannard says with a grain of salt, though I don’t doubt it will be an impressive sensor!

Sony PMW-F3/RGB

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The ProVideoCoalition has an article on the newly updated Sony PMW-F3/RGB, which add 10 bit 4:4:4 RGB output and 10 Bit S-Log Gamma which previously were add on options as standard equipment.
Hats off to Sony for making an already great camera better!

Problem with Canon EF 40mm f2.8

Canonrumors is reporting on a problem with the Canon EF 40mm f2.8
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If pressure is applied to the lens barrel while the lens is mounted to the camera (pressure can be applied even while attaching the lens cap or while carrying the camera with the lens attached in a bag), the autofocusing function of the lens may stop working.


It seems they will have a firmware update for the camera in August to fix the problem, but for now just remove the lens and put it back on.

Some more cool After Effects Scripts

Some more really cool looking scripts from AEScripts and the Pro Video Coalition.

Layer Repeater to easily offset layers in space and time suggested $19.99 but name your own price.

Masks and Shapes gives you more control over creating shapes and masks and can save them out as a text file, suggested $9.99 but name your own price.

Projection, makes it easy to camera map onto 3D planes in After Effects with 3D Camera Tracker, Syntheyes, Boujou or PF Track. $24.99 down from $49.99.

Illumination adds a new dimension of lighting control, and adds the softbox. $19.99 down from $39.99

Pixel Cloud, a compositing tool to relight a 3D generated image or displace the pixels in 3D space, $89.99 down from $129.99.

Paste Multiple Keyframes, lets you copy and paste keyframes from multiple layers at the same time, suggest $9.99, but name your own price.

Auto Lip-Sync, create a mouth that automatically animates according to your voice recording. $39.99

Null Swapper swaps null layers for light layers for Trapcode Particular and Plexus, and this one is free.

Some quick likes and dislikes of editing a recent project with Premiere Pro CS6

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Over the last 2 days I cut a short film on Premiere Pro CS6. It was shot on a Canon 5D and I had no time to convert the footage, so I figured Premiere Pro was the way to go because I wouldn’t need to re-compress the footage.

I used Plural Eyes to sync the footage to the external microphone, and it worked, though took some finessing, and some manual syncing and I would say it got about 75% of it.

Then I started cutting and had all the crash issues from my earlier post on the NVIDIA GTX 285, but was able to switch to my NVIDIA QUADRO FX 48000 and mostly cleared up the issues. No more serious Error messages, and no more screen going black. Still some random crashes, but nothing too bad, that a quick restart wouldn’t get running again.

I was running the footage out of premiere pro through my DV deck to an external NTSC monitor, and it looked great.

Now I edit in Apple Final Cut Pro 7 and AVID Media Composer, but have always preferred some things of Final Cut Pro. And there are some things about Premiere Pro that I like and some I don’t.

I don’t like how you can only set a duration for your default transition in Premiere Pro, and you can’t set up a favorites bin of effects either per project or within the system. I would always make a bin of favorites in Final Cut Pro with various lengths, and was quickly able to apply any transition I wanted.

I also don’t like how on a clip in the timeline that is not butted up to another clip, all transitions start at it’s cut and can’t be put center on the cut or ending at the cut. You have to extend the clip to make the transition go further than the cut. Now it is pretty easy if you select the cut first as you can just hit E to extend the clip to the playhead, even if a transition is already on it. And I have set command-D to apply the default transition, so I can easily extend clips and apply the default transition with one hand (awesome), but I still want a bin of my favorite effects, and if not in the effects browser, let me do them in the project like I can do with AVID.

The integration with Adobe After Effects is a thing of beauty. Just being able to make changes so quickly is totally awesome. Once you have either imported a After Effects Sequence or sent files to one from Premiere, you just save changes in AE and they show up in Premiere, and you render in Premiere. AWESOME! This makes Premiere the best program for graphics intensive stuff bar none. I think Premiere Pro should become the premiere program for Direct Response because of this alone!

When Snapping is turned on, why does the cut tool not snap to the playhead. Now it seems to still cut at the playhead if you are close, but if that is the case, why not snap?

I really don’t like the Time Remapping feature within a clips effects pallet. It is a different kind of keyframe, where you split it to make it softer, but doesn’t work nearly as well as just being able to bezier curve it, or even easy ease or or ease in and out. This should be just like it is in After Effects and it just ins’t, and doesn’t work as well because of it!

Honestly I had some trouble with the select all to the right tool (hold down A to activate). It sometimes put tracks out of sync on me. And it only does one track unless you hold down shift and click while holding shift to select all. I like how you would hit A twice to change it in Final Cut, and think having to hold down 2 keys makes it more difficult.

I don’t like the track selection tools. I keymapped the select all audio and video selections, but they don’t seem to always work, and I often had to manually turn tracks on and off. Now this is slightly upset by not having to set tracks to ripple delete gaps between clips, or even when you do an extract, but still I like how you can option click in Final Cut to select just that track, and think Premiere Pro could use that functionality (as well as making the select and deselect all tracks actually work all the time).

I would like the audio waveform in clips to be a tab like it is in Final Cut Pro. I know you can switch it via right clicking and going down a level and selecting Audio Track, but that is making it much more difficult, than just a tab, which can be quickly switched to. It is better than AVID, as I like to see my Audio in the VIewer and not in the Timeline), but still has too many steps to do something I do so often.

And I know it is a problem with audio from 2 sources, but I hate not being able to go into the audio linked to the video and open it in the viewer and put markers in it for where i want to cut. I often work this way in Final cut Pro, as the audio waveform is so much bigger in the viewer than the timeline, but here Ic couldn’t do it as it was linked to different video I think. I would love to be able to wrap the new audio with the video so it acts like a normal clip and you could use it like it is a single piece of audio and video.

Overall I have really enjoyed using Premiere Pro (though some of the keyboard shortcuts still vex me), and would like to see it supplant Final Cut Pro, because while i like AVID, it is still the same old program, and Premiere feels more powerful, and faster (with a CUDA card at least). I plan on posting more impressions on it in the future.