For now it will only have 2 tabs, the color tab shown above, and the cut tab.
The Cut Page also looks much like it’s desktop version
Here;s hoping that the cut page will work with the DaVinci Speed Editor, which is Bluetooth, so that would only make sense.
They have also said there will be a free version and a paid Studio Version from the iTunes Store.
With the M2 Chip in the new ipad pro this should work, though the limited ram might be a bit of an issue, as will storage, so hopefully it will work well with external hard drives.
This will be released in quarter 4 of 2022!
How can Blackmagic Design manage this, when Apple hasn’t manged a version of Final Cut Pro for the iPad.
Bulk edit titles on the timeline is a huge signature feature. You can batch change attributes across graphics files (this has been coming since you could see the ext in earlier versions).
Improved Previews on Windows and macOS, with Apple ProRes now being the default codec for previewing most video formats. This could be a huge performance and quality boost. I already use ProRES as my default, but nice to have it be the norm.
AAF Support for Apple Silicon, actually makes me wonder why this was not working for so long. Sure you could run premiere not in native mode to get it to work on Apple Silicon, but this is a pretty necessary feature.
I know I was busy working yesterday as I didn’t see about this release until last night, but for Adobe Max they have updated After Effects, and already the Select Track Matte Layers is included! WOOHOO!!!
Select Track Matte Layers is the signature feature that will help clean up every timeline. Instead of having to have a track matte in the layer above every layer, you can use a single Track Matte layer and pick whip it to layer you need. And you can change it from alpha to luma with a button and invert the matte with a second button.
The only thing that could make this better would be sticky folders, so you could put all your track mattes in a folder and stick it to the top or bottom (and even better if you could have 2 timelines showing, so you could keep some of them locked to the top of your tracks, but that is all wishful thinking.
Anyway, Select Track Matte Layers is going to be just a huge time saver and organization saver.
Native H.264 Encoding has returned, it used to work through quicktime, but now it is back and native.
Composition Presets have been revamped and include social media platform sizes (though why is their only a 24p 1080 instead of 23.976?).
New Animation Presets, they have added 50 new presets, with a lot of changeable controls and new text animation controls.
Faster Timeline Navigation, is a simple thing that should have been in there years ago! Thank you adobe. Basically if you select a layer, the J and K keys just move along it if you hold down shift, or you can select a single property.
Honestly this has me researching leaving gmail behind. Of course the easiest solution would be moving to Outlook, but something more secure seems like a good idea.
It seems it isn’t even really a 4 nanometer process, but an enhanced 5 Nanometer Process, just running faster with faster memory, but with none of what was expected for the A16.
And if the true A16 is delayed, it also might explain why the M2 for the MacPro is delayed and why Apple might not hit the 2 year mark on the Mac Pro moving to Apple Silicon.
So after all the bad press around this one, and the whole Covid thing we stayed away from the theaters for this one. And besides I can wait 45 days to see a movie on a streaming service that I already have, still this would have been fun in the theater, honestly I really enjoyed the film. Sure it was really silly, but I enjoyed, even if Christian Bale’s Gorr the God Butcher needed more screen time, and I honestly could have seen a full film with fat Thor and the Guardians of the Galaxy.
What I really want to talk about though, is a couple of things from the behind the scenes.
The first is the blue screen. It looks like they did all blue screen instead of green screen (the norm for digital, but it reflects less light for spill), but what really blew me away was not just how inconsistent the screen was, with many layers and edges. And even more so was the fact that Thor’s army had blue elements, and they shot it on a blue screen! Now I have seen that done with the blue changed to another color so it can be changed in post, but with the blue on blue and an inconsistent blue screen they must be rotoscoping every frame? ARE THEY INSANE? I mean this be part of the whole Marvel Mistreating VFX artists. Why not use Green Screen, or change the color of the blue?
I wish that CINEFEX still existed!
The next thing was the sequence on the small Asteroid in the shadow realm, with the crazy lighting from it going around it’s sun so quickly. They used this tech PlateLight, which allows for multiple lighting setups to be shot at the same time.
I would love to see an explanation of how this is working. I am assuming it is a special camera and sensor, but how does it then match with other footage (maybe fine because of the B&W nature of this scene).
