i just signed up for creative cloud’s frame.io from within Premiere. I didn’t know what level of service it is, but Frame had posted a page about it.
It allows:
So I can use it for any client that doesn’t have their own solution for review. Very cool!
They should offer a discount if you upgrade though.
Red Giant has updated Universe to version 6.
VFX Suite 3
Magic Bullet Suite 16.
And a new tool Real Lens Flares.
In past Red Giant has also released in depth videos showing off how to use the new features, but unfortunately it looks like they haven’t done that this year. Hopefully this isn’t how things will always be with the now Maxon owned company, bug I have the feeling it is. I guess will just have to play around.
The video for Real Lens Flares looks good, but will have to see if it is better than optical flares from Video Copilot.
I have been seeing this in video reviews of the Mac Studio and here at 9to5 Mac by Ben Lovejoy. Basically this is true for these power levels, but the NVIDIA card they are comparing too can go much higher on wattage, and thus is much more powerful, and the new 2090 Ti can up to 450 watts of power, so Apple has cut the top of this graph, so it is really only showing till the top of the M1 Performance, but the other video card goes much higher.
I had seen a few videos fix the graph, and found this post from iPhone Hacks that has a fixed version of the graph from MKBHD.
This adds the power curve of the NVIDIA 3900 and the Ti should go further than this.
So yes the Mac Studio may use less power, but it gets whipped by the top of the line NVIDIA card.
It may be the most powerful Mac Graphics card, but not the most powerful graphics card that is for sure.
I am not going to get a Studio Display, it is way too much for what it is, and I would rather have 4K than 5K anyway, but saying that the 60 FPS doesn’t bother me at all as for any video I use an external monitor through a Black Magic UltraStudio 4K. I don’t have a studio monitor, but a Samsung that I have corrected to the best of my ability, but in some ways that is better. As a perfect display leeds to correction like the last season of Game Of Thrones, so dark it is hard to even see.
Matt Schifrin at Forbes has written an amazing article at Forbes on Blackmagic Design, “How an Aussie from the housing projects became a billionare making geat for Next-Gen Spielbergs.”
An awesome article, I didn’t know quite how much I love this company. They are the company I get all my gear from.
They have released the Beta of DaVinci Resolve 18. It has extensive new features in addition to Cloud Collaboration. This includes Blackmagic Cloud, a new Proxy generator with simplified proxy workflow, intelligent Media Management.
New features include Intuitive object mask, automatic depth map, track moving warped surfaces, and updated resolve fx beauty. It also has enhanced subtitles, reverse shape, iris and wipe transitions, it can view 25 multicam angles, and has YouTube and Quicktime Chapter Markers.
Fusion updates include GPU Accelerated Paint and Text and Shape Acceleration.
Fairlight updates can convert legacy projects to flexbus for high track counts, automatic binaural rendering, decomposition of nested timelines and innovative space view 3d display.
Other new features include DaVinci Neural Engine Acceleration, Laptop HDR Monitoring on Apple Displays, Atmostpheric Simulation, Edge Detection, DaVinci WIde Gamut Color Space, 8K Real Time Color Correction and better M1 Ultra Performance.
AI Tools include a Person Mask, Superscale uprez, smart reframe for Social Media, Stylize with Open FX Library, Fave Refinement, Dead Pixel Fixer, Object Removal, Patch Replacer.
For Content Creators it adds upload to YouTube, Vimeo and Twitter, Import ATEM Mini Projects, Advanced Noise Reduction, optical flow speed change, Mix 2000 tracks in reral time, track and follow objects, and upgraded Color Warper for Refined Grading.
Also new is the Blackmagic Cloud Store drive with 4 10G Ethernet Ports for local network and built in cloud share via dropbox, with proxy creation. It has super fast SSD drives.
There is also a Cloud Store Mini for smaller situations or where you will use your own 10GB switch.
And the Cloud Store Pod, which can have 2 USB C drives connected to it.
And the HyperDeck Shuttle HD a desktop recorder and player for ATEM MIni Switchers, that can also be used with the Cloud Store.
Wow, this is huge. A full cloud solution for DaVinci including sync. This is so impressive. I wonder if there will ever be solutions to use this with Premiere?
William Gallagher of AppleInsider has an article on Apple Launching Mac Os X 21 years ago on March 23th, 2001.
I remember getting it. I didn’t run it on my current tower as I was editing, but installed it on my laptop to give it a test run. It wasn’t ready for release, but it was amazing to check out, the literal future in my hands.
Finally dark mode in the creative cloud app. Not the prettiest, but at least it isn’t white anymore.
Version 5.7.0.12.07 is the version.
I know it seems small, but with all my other windows dark, I really appreciate this.
Now if only the damn Facebook app on the ipad would allow dark mode!
Adobe has released After Effects April 2022 (Version 22.3).
This brings native Apple Silicon M1 Support to the production version of After Effects. Still not sure about M1 Ultra Support as of yet.
It also includes Frame.io integration with the free account you now get with you adobe account.
3D Extended Viewer for 3D previews.
Scene Edit detection for which I have been using Magnum 3 from AE Scripts. Love that this is built in now.
Binning indicators for 3D layers to see how layers are composited.
And constrained shapes, where you can create perfect squares and circles by holding down the shift key when you double click the rectangle or ellipse tool.
And in the Beta, Separated Dimensions Preference.
So you can have x, y as separate lines.
For most Adobe has updated Premiere Pro to April 2022 release (version 22.3) and here is there page on new features.
Excitingly it includes Frame.io Integration and thus Camera to Cloud support, you just login with your creative cloud ID and you get a 100GB account, of course it isn’t free as creative cloud has gone up $2 a month, but still cheaper than buying your own account.
I was at a company that was trying to test using Creative Cloud for offline edit workflows, and it was an interesting experience. Not quite there, especially how it creates it’s own h264 previews and you can download low and high, but it isn’t really a remote editing solution yet, but still a powerful review software.
And the biggest feature isn’t the redesign of the Import and Export panels and the new preset manager, and the new header bar, which have been being tested in beta for a while now.
I still think there is too much twirling down to be done in the presets for export, which is more clicks, which I am never for.
At least the new Header Bar has been listened about and you can now show 3 workspaces as well as Import, Edit and Export. In their original implementation the workspaces were all in another menu, which is slower, when only real beginners need Import, Export all the time.
Auto Color powered by Adobe Sensei should help beginners get a quick starting place for color correction, unlike the old version. This was cvalled Auto Tone in the beta, and is a powerful start to color correction, if only Adobe would bring back a full Lemtri color suite like SpeedGrade.
And the new show hide Marker colors very cool for those who use a lot of markers, like me, when I log footage I use makers instead of subclips.
Other new features include Speeech to Text for Cantonese, Trim Playback Looping from Playhead instead of nearest edit, a Remix Progress indicator, Support for Sony Venice 2, Change est Size in text Panel, and customized clip name in EDL exports.
