Adobe Announced Creative Cloud pro with unlimited access to Adobe Stock

 

Adobe has announced Adobe Creative Cloud Pro Edition at it’s Adobe Blog. This is just like the normal version of Creative Cloud but the with the addition of unlimited access to over 200 million assets from Adobe Stock.

The price is the same as Creative Cloud for teams at $79.99 a month for a year and $89.99 a month after that.

For individual users this only makes sense if you use a lot of stock and templates, but for businesses this could end up being a huge money saver, and well worth it.

Engadget is reporting that Apple’s M2 Processor has entered production and could arrive by July

Engadget has the news, and that it will again be SOC or system on chip, so integrated CPU, GPU and AI processor.

I am still hoping for eventual external gpu and memory for system and gpu, but that could be unlikely, but hopefully this will at least have support for more than 16GB of Combined RAM and a better GPU.

I hate having Mac’s future so up in the air again. At least with Intel we had a roadmap. Now we will will never know what is coming. And the pro machines won’t cone until the end of the 2 years and I will likely be disappointed with the results, at least at first.

AppleInsider reports that Mac OS 11.4 has added support for AMD Big Navi 6800, 6800XT and 6900XT

 Wesley Hillard at AppleInsider is reporting that MacOS 11.4 adds support for AMD Big Navi graphics cards 6800, 6800XT and 6900XT.

This is great news, Big Navi are what are in the new Xbox Series X and Playstation 5, are more powerful than anything in the current MacPro. It would be awesome if these cards were to be released for the MacPro and even better if they were to be added to an Pro variant of the M1 with PCI card and hopefully thunderbolt eGPU support.

There is the possibility that the M1 cards will never support PCI based graphics cards, and that would really be a shame, but this keeps the possibility alive.

Big Navi should be great for both Premiere Pro and DaVinci Resolve. I would still prefer the addition of NVIDIA, but that is unlikely to ever happen.

The Hidden cost of Apple changing it’s hardware architecture for editors and motion graphics artist is plug-ins

 

So of course Apple is moving to the M1 processor for all of it’s computers, moving away from intel. This is the 3rd hardware switch Apple has made, from it’s initial motorola processors, to power pc, to the ARM based M1 processors. And while the current M1 is very fast, but not a pro processor, especially with shared graphics and normal ram and a limit of 16 GB of total RAM. 

For everyone sticking with Apple this will eventually mean new hardware to move to M1 from Intel, though for a few years at least Apple will continue to support Intel hardware.

The hidden cost though, that is something different, and for a professional editor or motion graphics artist the hidden cost is plugs-ins.

Plug-ins can be an expensive investment, but can really help your workflow and speed things up and let you do things that couldn’t do without them. And the move to M1 will certainly be a paid upgrade, even for those still on Intel hardware. And those plugs in upgrades can cost hundreds, and over the upcoming period there are going to be a lot of upgrades to M1.

And while DaVinci and Final Cut Pro X already run on M1’s and the Premiere Pro Beta runs on M1, to get your old plug-ins to run you have to run them via Rosetta 2, which means running the Intel based versions of the host software to get the plug-ins working. And that is going to mean running the software slower through emulation, and could cause many issues and add more stability issues.

Now of course subscription based plug-ins will have the price included in the subscription, but the lack of more money for the upgrade might mean a lot longer before they upgrade to M1, even if it should mean they should upgrade sooner since you are already paying monthly or yearly for the software.

And yes the fact that our Intel Hardware will last a few more years with upgrades means that the upgrades will happen over a few years, so we can pay it, but for me it is a lot of plug-in upgrades, that will be followed by an expensive hardware upgrade to whatever form Pro M1 Macs take.

And of course their will be the exceptions, companies that treat their customers correctly and will upgrade to the new architecture without charging anything. One such company is RE:Vision Effects, which I got an e-mail from and they are developing M1 versions of the current versions of all their plugs ins. And have already released OpenFx and Twixtor M1 betas for FXPlug versions and RSMB for FXPlug is next.

Harry McCracken article on the iPad Pro needing Pro Software and my thoughts

 

Harry McCrakken at Fast Company has an article about how the iPad Pro just got way more Pro, but now it needs more Pro Software.

And I wholeheartedly agree. There is no overall user interface, everyone does it differently, and for me at least I don’t see the stability to use it in a work environment. Like Final Cut Pro X apps on iPad are supposed to just save and, but every time I have tried to really use art software on an iPad it crashes and I end up losing not a small amount of work, but most of my work, admittedly the same thing has happened to me with Final Cut pro X and it’s auto save with everything you do, if you are forced to use autodave and on the iPad have no way to backup your save definitively, then it can’t be used in a work environment and feel safe.

Now I hate windows, but I have an old Surface and even though it is far slower and doesn’t have an impressive touch interface, being able to use a full version of Photoshop is far superior to anything on a much more powerful iPad. It is too slow to edit on, but photoshop if far superior.

And while I have tried some editing on the iPad, and it works for simple stuff, it just isn’t pro. Even though an iPad can play back H.265 footage better than any Mac I have ever seen, the software on the iPad is not conducive to the Pro Work that the hardware is capable of. Of course again I kind of feel the same about Final Cut Pro X, it has some amazing high level technology, but it just isn’t put together how it should be or how an experienced editor would want to use it.

And programs just crash on an iPad, there is now way to see the memory used or how it is being taxed. Even the simplest apps like web browser crash and I lose all my tabs all the time.

And since every palm pilot had a way to store the pencil securely within the device, why can’t apple figure this out? The Apple Pencil is only useful if it is charged and attached. Having to keep it safe separately is not ideal.

I love my iPad because of convenience, but I have to say I would rather have a mac equivalent of a Microsoft Surface Book. A laptop with a touchscreen and a graphics card in the keyboard for editing work, but that I can take off and use as a tablet. And now that they both use the same chips this certainly should be possible. That would be ideal, though it would need to add Thunderbolt External GPU support to M1 Macs.

New Apple TV announced with new remote and color balancing feature

 

3 days ago Apple announced a new Apple TV 4k with a new remote and A12 Bionic Chip. It supports higher frame rate HDr, Dolby Vision and 60 fps.

The coolest feature which should at least hit some previous models is part of tvOS 14.5 according to 9 to 5  Mac, is color balancing using your iphone. 

This will not color balance your tv, but instead the output of your Apple TV to correct for your TV’s color balance! Wow! Apple needs to make an SDK for this feature, as I would love to have it in Adobe Premiere and DaVinci resolve on my Mac!

It still doesn’t account for Apple’s weird color shifts on the Mac. Be interesting to see how this balances for your own clips played back on an Apple TV from Premiere or Resolve, but for streaming and purchased movies this should be a godsend.

Patently Apple on Frame.io’s CEO on the new 2021 iPad Pro’s display being the ideal viewing solution

 

2 days ago Apple announced the release of the new iPad Pro with the M1 chip (not as big an upgrade as it is for Macs since it is based on previous iPad chips, but still an upgrade). 

Well the 12.9 model (all are $100 more expensive than previous models) has an upgraded display that includes apple XDR mini-LED display with IPS tech, and that may be more important than you think. It includes P3 color space and could support HDR 10, 10+ and Dolby Vision.

Patently Apple has an article about how Michael Cioni the VP of Onnovation at Frame.io told the Hollywood Reporter that this could be the perfect viewing display, since it can display work as it was originally intended.

I would actually like to see the original interview. I question the iPads viability because I know just how weird Apple’s color science is. Maybe it would work well with footage from Final Cut Pro X that has Apple’s weird color science baked in, but with footage from Premiere and DaVinci, I will bet it will be just as messed up as a Mac is even if it could show the correct colors. Unless maybe Frame.io is working on a solution in it’s app to bypass Apple’s funky as Color Science. If Frame.io figured out how to bypass the wonky color science or read what machine it is on and display correctly that would make Frame.io even more worthwhile.

Apple’s new M1 24” iMac is an impressive and beautiful consumer machine.

 

So one of the things Apple released yesterday, was there new 24” inch iMac in up to 7 colors like the iMac was originally. And this is an impressive and thin Machine, at only 11.5 mm thicks, wow!

And with the impressive performance of the M1 chip and a beautiful 4.5 K 24” display thus will be an impressive machine for many users, though it is obviously not meant for pros, and especially the $1299.00 base Machine which only has 2 thunderbolt/ USB 4 ports and unlike it’s bigger brothers doesn’t include gigabit ethernet on the power block (and a pro machine would have 10 GB ethernet).

The higher end machines for $1499 and $1699 have one more gpu core and 2 usb 3 ports as well as the afore mentioned ethernet, and their magic keyboard includes touch id (which are also color matched to your machine), though one with a numberpad is an extra cost.

And the 16GB unified memory for both CPU snd GPU will be further hampered by the larger display, and lack of cooling fan for pro work.

I really look forward to seeing what the pro variant of the m1 chip is and if it has external graphics support, or even pci support. And any pro iMac will need to be thicker and have a fan, and maybe a bigger display.

Strangely this computer is so thin they couldn’t keep the headphone jack on the back and had to put it on the side, which is certainly easier to use.

I like that you can order one with a vesa mount instead of the included stand, since the stand doesn’t have height control. Maybe an iMac pro could include height control as well, as long as it doesn’t cost as much as the stand for the MacPro HDR display.

And with Final Cut Pro X and DaVinci working well on M1 Macs and Premiere having Beta support the future looks bright for M1 pro users, though it isn’t here yet. And an expensive plug in upgrade cycle to M1 support is certainly in our future.

Still for most users this should be an impressive machine, though why the chin? I know iMacs have had it for a while, but I would rather not have it and have the display edge to edge.

The wait to see the M1 Pro Chips is killing most pro users right now, but hopefully Apple is using the time wisely, and going to really blow us away with what they release.

This machine is really quite impressive, and many users will be very happy with it, but does anyone think it is weird to not have an Apple logo on the chin?

I can’t wait to see one, though with the pandemic that may be a while.

The Adobe Support community is an important tool for finding answers to your questions and issues

 

The Adobe Support Community is a huge resource for those who are having issues with their Adobe software. While Adobe isn’t on the forums that often (they are sometimes), other users are very helpful and will do what they can to help you.

And the Premiere Pro and After Effects forums are very useful.

Separately from the forums you should also know about the Feature Request / Bug Report form which is where you should post specific requests or reproducible bugs to Adobe.

You can also try Adobe’s Help page, though I find you get more results from the community.

Color Correct your external monitor using Spear and Munsil

 

After all the talk of gamma shifts and trying to balance the color on your computer monitor, really and truly the only way to really see if your video is right is to be watching it on an external video monitor. An external video monitor is the way to see what the image truly looks like, but you need to adjust your external monitor to correct balance and to really do that to the best that your TV can do you need Spear & Munsil. Of course some people use a computer monitor, but that will never show what TV delivery will look like, you need to view on something that resembles what you are delivering for.

I use a Blackmagic UltraStudio 4K to play my video out, though I wish I had the newer model with Thunderbolt 3 instead of 2, and which is smaller, quieter and cooler, but the Ultrastudio works great.

You should be viewing your video on an external studio video monitor, but for home use that is a pretty big expense. Personally I use a Samsung UHD TV, unfortunately it’s HDR capabilities are fake (I had to get it for a job and it was the right price, and it listed HDR, but unfortunately is not actually an HDR display). It is a Samsung so it has one unique bonus among consumer televisions for getting the color correction right and that is that it has a blue only mode. This helps in the calibration greatly.

The discs no longer include a getting started guide, so you will need to go online and follow the extensive instructions. It will take a little while, and your room should have the lighting that you will use when editing (I have light blocking shades on my office windows to keep a consistent color and lighting).

This is such an important step for television delivery, and should part of every editors home office.