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.
So I have written about Sofi Marhsall’s Ultimate Rea-Time Editing Workflow (That Won’t Break the Bank) and just wanted to give a little Update on how i have updated that workflow because of my setup, and the difference for me is that I run a older Blackmagic UltraStudio 4k as my video out, which I run to a Samsung HDTV.
I followed her instructions and got a BlackMagic Web Presenter, but got the UltraHD version so I can do 4K video, and it does seem to work just fine with either the front or back USB C unlike the older version she used.
And because I am not using USB-C to HDMI cable for my setup, which is also going to eat up a more of your video ram (displaying as a second monitor. Instead I ran a BNC Cable from my UltraStudio 4k into my BlackMagic Web Presenter, while my Samsung is running out of the HDMI out of the UlraStudio 4k. Sofi’s version is setting up the web presenter as a second monitor, but I am already using a second monitor on my computer, and would rather run the direct output from my UltraStudio from Premiere (or DaVinci or AVID) into my Web Presenter, and you don’t need to setup the web presenter as a second monitor.
My Web Presenter lives on top of my UltraStudio 4K (the Emotive is a DAC I use for listening to music off my computer) someday I will get a rack mount to put them in.
Whatever you are playing back shows up on both monitors for me, and I can see on my TV, which is the black line at top with the power cable running down the wall, and the usb cable to the computer allows the web presenter to act as a USB web cam.
Premier Video Output Settings
Premiere Pro Menu > Preferences > PlaybackMy playback settings set to Blackmagic Playback with Disable Video Output when in background disabled!And the Blackmagic playback setup settings for my UltraStudio 4K
So in Premiere I am playing back through Blackmagic playback via my UltraStudio 4K, and I have disable video output when in background (which I usually have checked, disabled, so the signal keeps going to the webcam constantly.
Now again differing from Sofi Marshall here I have the audio setup differently, as she is using Loopback to send the audio to the Web Presenter, but I am using Premiere Pro directly. I am still using Loopback, but differently as I will show.
So for Premiere Pro I go to Premiere Pro > Preferences > Audio Hardware to setup direct audio to the UltraStudio 4K.
Premiere Pro Menu > Preferences > Audio HardwareAudio Hardware Preferences, default output to Blackmagic Ultrastudio 4k and Map Output to Blackmagic PlaybackDefault Output selections, I actually usually use Edirol UA-1D which I have an optical cable coming out of to my Edirol and an Emotica AMP for my Speakers as well as a FireStone Audio Headphone amp, and use blackmagic to show sound sync on my TV, but I can live with the sync being the same as the computer monitor most of the time, but for this I use send the audio to the Blackmagic UltraStudio 4k.
I then follow Sofi Marshall’s directions on creating Loopback Device 2, which combines the iMac Microphone (her external microphone) and the audio from the Web Presenter.
I have created my mic for zoom, the “Mic & web Presenter” with the External Microphone and the audio from the Web Presenter 4K combined.
So here is my loopback microphone setup so my cut can be shown with audio and they can here the microphone.
Now since I am running the audio directly to monitor my audio for me it would be coming out of my TV which would then show up in my microphone, so I can’t have that, so I must mute my HDTV, and I want to hear my edit through my headphones. My headphones are running through my Edirol though could be just the headphone jack, so I have made a loopback to send Premiere to my Edirol.
I have also made a setting for DaVinci exactly the same but with DaVinci.
These send my audio from Premiere or DaVinci to my headphones. Now we need to setup zoom.
Zoom Menu > PreferencesZoom Preferences ? Video for Camera I have selected my Web Presenter 4K as the video, with original ratio and HD.And Zoom Preferences for Speaker I send the audio to my Edirol (which could be headphone jack) and for the microphone I select Mic & Web Presenter which I created in Loopback.And make sure to turn on High-Fidelity Music Mode and Stereo Audio.
Now you can do a zoom using my video out from Premiere and Web Presenter. Thanks to Sofi Marshall, as I would have never done this without her.
The camera includes built in LiDAR focusing, which can be used with all the compatible lenses, autofocus and manual that work with the camera, and built in Wireless Transmission to multiple receivers at 20,000 ft, including a full wheel system. Both cameras have dual native iso, the 8K is 800/4000 and the 6K is 800/5000 and both have 113+ stops or more of Dynamic Range. And built in 9 stop ND filters! The lens work with interchangeable lens mounts, from DJI’s propriety DL mount, to Leica M mount.
With the built in LiDAR it can do ActiveTrack Pro for autofocus subject tracking and shows a LiDAR waveform for enhanced manual focus. The remote receives can also have full control of the camera for an operator. It can also shoot to CFexpress type b, external USB 3 or an internal DJI ProSSD. And it has built in microphones, plug 3.5mm and XLR microphone inputs. Also impressive are sensors on the bottom that help with balancing, though someone will have to make plates that have holes fro the sensors. And it can record in H.264 or ProRES or ProRES RAW.
Now the lenses are where I think this will be more of a purposeful camera vs a camera you shoot full features on, because it has limited lenses it is compatible with (and impressively you don’t have to do much to balance the cameras with these lenses). Here is the list of lenses in pdf form, there are currently 3 DJI DL lenses, 8 M Mount Leica lenses, 38 E mount with lenses from Sony, Tamron, Zeiss, Sigma, Voigtlander and Sirui. These are all pretty small lenses and not the lenses that pro cinematographers are going to want to use, but for certain situations this will be an impressive camera.
It is a beastly looking camera and a strange body. I am guessing you mostly use it with handles on both sides, but it can also work shoulder mounted.
It does seem expensive, but wait until we see how well this thing shoots. Actually I would like to see something much more in between this and the awesome DJI Pocket.
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.
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!
The CPU in M1 Pro and M1 Max delivers up to 70 percent faster CPU performance than M1, so tasks like compiling projects in Xcode are faster than ever. The GPU in M1 Pro is up to 2x faster than M1, while M1 Max is up to an astonishing 4x faster than M1, allowing pro users to fly through the most demanding graphics workflows
M1 Pro offers up to 200GB/s of memory bandwidth with support for up to 32GB of unified memory. M1 Max delivers up to 400GB/s of memory bandwidth — 2x that of M1 Pro and nearly 6x that of M1 — and support for up to 64GB of unified memory.
M1 Pro also includes dedicated acceleration for the ProRes professional video codec, allowing playback of multiple streams of high-quality 4K and 8K ProRes video while using very little power. M1 Max goes even further, delivering up to 2x faster video encoding than M1 Pro, and features two ProRes accelerators.
Wow, this is certainly more pro than the M1 was, though you do have to deal with the Mac Premium for the high end versions, especially the 64GB M1 Max, but I will talk about that in the next article on the new MacBooks. And if the stats they showed for DaVinci play out, not only will a non portable machine be very impressive (though likely expensive) the inclusion of ProRES accelerators is awesome (though also makes PCI slots seem less and less likely).
Yes yes yes, cleaning up After Effects Projects is a must, and sometimes I wish that Template makers spent more time making theme easier to use and modify as I basically never use them exactly as intended. Anything to clean things up so if another graphics artist comes or even you after a break will be able to quickly figure things out.
Expressions are amazing, and I wish I was better at writing them instead of just using them, and this goes through the expressions so you can get some information about how it works.
