Now I was a huge fan of SpeedGrade when it existed, and greatly lamented it’s passing when it went away. For those of you who don’t know, SpeedGrade was a professional color correction software much like DaVinci Resolve that Adobe purchased and added to their creative suite for a while, and then gutted it and that is where the Lumetri color panel came from. What I miss the most was that unlike with DaVinci where you render out movies with the grade baked in, the grade from SpeedGrade could be exported a single movie or movies of each shot, but you could also roundtrip to premiere and the entire grade came back to Premiere as the Lumetri plug in on your clips! Not only was this much faster, especially since most Lumetri grades would play back in real time without rendering in Premiere, but it saved hard drive space too and made the whole round-tripping thing a real pleasure.
Sure it wasn’t quite as powerful as DaVinci Resolve at the time, but it was plenty powerful and at the time even beat DaVinci on a couple of things.
Of course by this point DaVinci has vastly moved on from SpeedGrade, but this is Adobe we are talking about, and they could certainly update it (and give it multi-monitor support). And maybe bake in some After Effects tools for masks and tracking and the like.
Now Premiere Pro has the Lumetri Color Panel, but it isn’t near what SpeedGrade was and no where near what Premiere can do. So the Adobe Creative Suit really needs a high end color correction package and it could be the evolution of SpeedGrade or as Randi Altman called it Lumetri Pro (I wish I could take credit for the name).
Deadline is reporting that Regal Cinemas has signed a new lease for the Arclight Sherman Oaks.
Regal will reportedly sink $10M into renovating the cinemas bringing it up to date on par with its Regal Irvine Spectrum which reopened last fall for Tenet. Regal recently opened a brand spanking new multiplex in North Hollywood, six miles East of Arclight Sherman Oaks. The new Regal at Sherman Oaks will have 4DX, PLF screens as well as ScreenX which is a three-screen wraparound auditorium (Regal already has one at their Valencia Town Center location in Valencia, CA). Both Regal and Douglas Emmett acknowledged the new lease in the L.A. Times report.
Woohoo, the theater was never one of the best Arclights (though vastly superior to the Santa Monica), as it really only has 2 impressive theaters.
Living in the valley I am so glad it will be back. Now I just hope Decurion, which stills own the land under the Cinerama Dome (though not the Arclight Hollywood next to it) and the Pacific Winnetka, opens the Winnetka back up. The Winnetka used to be a crappy theater, big screens, but crappy seats, but they recently upgraded every theater but the biggest one with recliners and took out multiple rows to do it, so unlike AMC you can still walk in front of the reclines seats, and this made it my favorite theater in the valley. So Decurion come on and re-open your damn theater!
You get Substance 3D Stager to put models together, material and light a 3D scene to produce virtual photographs and renderings, which sounds like a high end version of Adobe Dimension (which is in Creative Cloud).
You get Substance 3D Painter to paint textures and materials on a 3D Object.
I know companies love there subscriptions, and that 3D programs are getting really high subscription prices, but this should have been included in Creative Cloud. Of course I also think it should be more than creating stills as 3D motion product shots would be amazing to be able to make quickly and well.
Universe is available as a subscription for $199 a year, or as part of Red Giant Complete for $599.99 annually or Maxon one with all their products for $1199 a year or you can pay a monthly for $30, $79 or $149.
Personally I have used the Red Giant plug ins for many many years, and they have many of my go to effects. They are also fast and work across editing software for the most part. It is a big expense every year, but I find it very worth it for the suite of tools. And honestly if I could afford it would love to add Cinema 4D to the mix.
I like his thoughts on import which is a simplified version of DaVinci’s cut page (since you can quickly assemble a sequence) are interesting, I hadn’t thought of it that way, but then the Cut page isn’t really for me or how I work, though I do like some of it, it just isn’t there for me.
And the fact that he asked adobe and they will eventually update everything including the timeline (just don’t learn anything from Final Cut Pro X please) is pretty huge news.
And he is right they need to make Lumetri Pro, which would be a new version of SpeedGrade and bring back the grade just being the lumetri plug in premiere. OMG I WOULD LOVE THAT, I have missed SpeedGrade since it went, and it is really the one thing Adobe is seriously missing a powerful finishing program.
The New Export Window is cleaner and takes up the full screen automatically
One problem with the whole screen thing, is that it is completely taking over the Premiere Pro interface, and my automatic response was to go to the red button on the top left to close the window, which closes the whole program. To close the export panel you have to go to the EXIT button on the bottom left. Which the hell knows about?
See the Exit button on the bottom left corner.
Honestly I kind of see where they are going here, as the export instead of a window is now basically a workspace, but if that is the case treat it like a workspace and have it with the workspaces (at the top of the list) and to exit it you go back to your workspace. It is going to take me a bit to break me of closing it as a window if I need to.
Or they realized and put an exit in because might not realize that you leave by going to Edit instead of export, but this makes the edit workspaces a second tier (since you have to click twice to access and select them now, and they are only within the edit interface and not within the export interface. And why the hell is the Exit button on the bottom right of the Import dialogue and left of the Export dialogue?
A single unified Workspaces would make much more sense to me instead of 2 tiers, and it is 2 tiers as the workspaces have now been moved to their own button, and in both Import and Exit they are greyed out.
Greyed out Workspaces
And the default Export Settings is so much less pro now, being renamed to destinations. Well OK you can include upload settings, but it is not something a pro will normally use.
The Default Export Settings
All these “Destinations” are so web oriiented, how about some master settings, or at least export full resolution timeline at it’s settings (which should be the top setting). Honestly I never use an automatic upload. Anything that is for mastering needs to be exported then watched then uploaded anyway, so having all these “destinations” is completely useless to me. And how about a Frame.io destination which could be a bit useful at least, but still should be watched before uploading.
Now it is easy enough to add new ones, based on the settings you make with the media file settings.
New Media File Destination added to the list.
And as for getting to the compression settings, everything is harder to get to now, taking multiple clicks to do what could be opened by one before.
I have to click more and scroll to see more settingsOnce I have clicked more
And you cannot type in a number in the bitrate, only use the slider to set bit rate. No thank you, I need to be able to type in a bitrate as I used to be able to. (UPDATE: in the forums they have said they are working on this).
I am really not sure about the new header bar, and it’s hiding the workspaces in favor of Import/Edit/Export which becomes a new tier of workspaces, and ones that I don’t use as much as my edit workspaces on a day to day basis.
Going to be interesting to see how Adobe makes it standard across apps, as I am assuming that will just mean video apps, but we shall see.
I can honestly say I don’t need the Import and Export all the time on my title bar, I would rather have quick access to my custom workspaces than have those. Many times I import most everything at the start then only need a graphic here and there so don’t need it on the title bar.
I think it should all be one workspace system or at least make Edit a drop down with your workspaces.
So now it is two clicks for me to change workspaces instead of 2. That is not an improvement.
You can discuss the new features at the Adobe Support Community, here is for the Header Bar, Import Workflow and Export Workflow. And the Export discussions says the layout is still being worked on, and they are going to add BACKGROUND RENDERING as well as the already added multiple outputs.
And I really wish Adobe would fix Merge Clips rather than adding new stuff.
I already have an Elgato StreamDeck XL and a Tangent Wave2, but am always interested in something to speed up my editing workflow, so have been interested in the $169 TourBox Neo External Controller. The review is interesting and it sounds decent, but I am not sure I would go for it, especially since it doesn’t work with DaVinci’s color page, but it does sound good in Premiere.
Sometimes your Mac is running badly and needs some maintenance, now there are a couple of paid utilities I fall back to (mainly TechTool and Diskwarrior, but I will post more about those later) but the first I run is always the free OnyX. Onyx is a GUI or graphical user interface for various terminal utilities. It is from Titanium Software and has different versions for each version of the OS.
I always go to Maintenance and usually run everything except disk positions on desktop. It will quit all open apps and run. And the run will take a while, maybe even an hour depending on hard drive size, then will restart your machine.
I run this when Premiere is being sketchy, lots of crashes, and the system just seems to be running wrong. It isn’t a utility for Premiere, but for your system overall.
I have posted how this is needed in Premiere immediately, but i ran across this article by Scott Simmons at the Pro Video Coalition. I hadn’t realized that Final Cut Pro X had added it, and didn’t realize you can read the metadata in Premiere, just not easily, and it should be appended to the tracks in the timeline just like it is DaVinci Resolve.
This is a feature that Adobe needs to add immediately.
A must read on remote editing during Covid. I also love that the Queens Gambit was cut on an iMac. I also love that Tesorow would also love to work remotely with in person screening, mixing and color correction.
I completely agree, remote editing should be the future of editing. Now to figure out how to write off computers now that AB5 in California has made being an independent contractor and all of it’s tax benefits basically illegal.
