Tag Archives: NLE

Michael Kammes’ 5 Things – Video editing software

By Randi Altman

Technologist Michael Kammes is back with a new episode of 5 Things, which focuses on simplifying film, TV and media technology. The web series answers, according to Kammes, the “five burning tech questions” people might have about technologies and workflows in the media creation space. This episode tackles professional video editing software being used (or not used) in Hollywood.

Why is now the time to address this segment of the industry? “The market for NLEs is now more crowded than it has been in over 20 years,” explains Kammes. “Not since the dawn of modern NLEs have there been this many questions over what tools should be used. In addition, the massive price drop of NLEs, coupled with the pricing shift (monthly/yearly, as opposed to outright) has created more confusion in the market.”

In his video, Kammes focuses on Avid Media Composer, Adobe Premiere, Apple Final Cut Pro, Lightworks, Blackmagic Resolve and others.

Considering its history and use on some major motion pictures, (such as The Wolf of Wall Street), why hasn’t Lightworks made more strides in the Hollywood community? “I think Lightworks has had massive product development and marketing issues,” shares Kammes. “I rarely see the product pushed online, at user groups or in forums.  EditShare, the parent company of LightWorks, also deals heavily in storage, so one can only assume the marketing dollars are being spent on larger ticket items like professional and enterprise storage over a desktop application.”

What about Resolve, considering its updated NLE tools and the acquisition of audio company Fairlight? Should we expect to see more Resolve being used as a traditional NLE? “I think in Hollywood, adoption will be very, very slow for creative editorial, and unless something drastic happens to Avid and Adobe, Resolve will remain in the minority. For dailies, transcodes or grading, I can see it only getting bigger, but I don’t see larger facilities adopting Resolve for creative editorial. Outside of Hollywood, I see it gaining more traction. Those outlets have more flexibility to pivot and try different tools without the locked-in TV and feature film machine in Hollywood.”

Check it out:

My NAB 2017 top five

By Brady Betzel

So once again, I didn’t go to NAB. I know, I should go, but to be honest I get caught up in my day job and my family, so usually I forget about NAB until the week before and by that time it’s too late to pull off. I’m hoping to go next year, like really hoping I make plans.

So there or not, I was paying close attention to the announcements that came out of new products, and even updates to older products. Let’s be real, other than doing some face-to-face networking, you can really get the same if not more info by lurking online. Below are five announcements that really got my attention.

Blackmagic’s DaVinci Resolve 14
Blackmagic saw that this year’s Resolve update from 12.5.5 to 14 is so good they skipped 13. There was a significant drop in the DaVinci Resolve Studio price from $999 to $299, while adding features that many of the top NLE/color correction software dogs are lacking.

The beauty of Resolve is that it is first and foremost an industry-proven color correction powerhouse, one that is used on many of the top movies and television shows in the industry.

They are also expanding their footprint laterally to encompass professional audio as well as professional video. In Resolve 14, Blackmagic has added a Fairlight audio page to allow for a much more Pro Tools-like editing experience within the same Resolve app we have all grown to become extremely excited about. In my mind that means that at a professional facility, or your own garage, you can have a editor/colorist sitting with a re-recording engineer to review a movie or a show with the client at the same time.

The Fairlight page within Resolve 14.

As long as you have two separate workstations, the colorist and audio mixer can be addressing notes on the same sequence inside of Resolve 14 because of the newly updated collaboration enhancements. The Audio mixer or colorist could then refresh their sequence to update it with any changes the other had made and see them immediately reflected.

I haven’t gotten my hands on this update in a proper environment to test out the collaboration functionality, but the timeline comparison and review features seem like a godsend to anyone who does any sort of conform work. It is the beginning of Blackmagic’s path toward Avid Media Composer’s lock on the industry with their sequence and project sharing.

On Twitter, Blackmagic’s director of DaVinci software engineering, Rohit Gupta answered my question about whether EDLs and AAFs will fall in line with the timeline review. He said it will work “irrespective of how you create the timeline. So it will work with EDL/AAF too.”

Clip, sequence and bin locking are the future for collaborative workflow inside of Resolve. I would love to see how someone uses these features in a large collaborative environment of 10 or more editors, sound editors and colorists. How does Resolve 14 handle multiple sequence updates and multiple people knocking on a bin? How does Resolve work on something like an Avid Nexis?

Moving on, while I’m not an audio guy I do realize that Fairlight is a big player in the pro audio industry, maybe not as sizable a footprint as Avid Pro Tools in the United States, but it still has its place. So Blackmagic inserting Fairlight technology, including hardware compatibility, into Resolve 14 is remarkable.

The Resolve 14 update seems to have been focused on everything but the color correction tools. Except for the supposed major speed boost and options like face tracking, Blackmagic is putting all its eggs into the general NLE basket. It doesn’t bother me that much to be honest, and I think Blackmagic is picking up where a few other NLE players are leaving off. I just hope they don’t spread Resolve so thin that it loses its core audience. But again, with the price of Resolve 14 Studio coming in at $299 it’s becoming the major player in the post nonlinear editor, color correction, and now audio finishing market.

Keep in mind, Resolve 14 is technically still in beta so you will most likely run into bugs, probably mostly under the Fairlight tab, so be careful if you plan on using this version in time-critical environments.

You can find all of Blackmagic’s NAB 2017 updates at www.blackmagicdesign.com, including a new ATEM Studio Pro HD switcher, UltraStudio HD Mini with Thunderbolt 3 and even a remote Bluetooth camera control app for the Ursa Mini Pro.

SmallHD Focus
There was a lot of buzz online about SmallHD’s Focus monitor. It’s an HDMI-based external touchscreen monitor that is supposedly two to three times brighter than your DSLR’s monitor. People online were commenting about how bright the monitor actually was and about the $499 price tag. It looks like it will be released in June, and I can’t wait to see it.

In addition to being a bright external monitor it has a built-in waveform, false color, focus assist, 3D LUTs, Pixel Zoom and many more features. I really like the feature that offers auxiliary power out to power your camera with the Focus’ Sony L Series battery. You can check it out here.

Atomos Sumo
Another external monitor that was being talked about was the 1,200-nit Atomos 19-inch Sumo, a self-proclaimed “on-set and in-studio 4Kp60 HDR 19-inch monitor-recorder.” It boasts some heavy specs, like the ability to record 4K 12bit Raw and 10-bit ProRes/DNxHR — plus it’s 19 inches!

What’s really smart is that it can double as an HDR grading monitor back in the edit suite. It will map color formats Log, PQ and HLG with its AtomHDR engine. Technically, it supports Sony SLog2/SLog3, Canon CLog/CLog 2, Arri Log C, Panasonic Vlog, JVC JLog, Red LogFilm Log formats and Sony SGamut/SGamut3/SGamut3.cine, Canon Cinema, BT2020, DCI P3, DCI P3+, Panasonic V Gamut and Arri Alexa Wide Gamut color gamuts. While the Sumo will record in 4K, it’s important to note that the monitor is actually a 10-bit, 1920×1080 resolution monitor with SDI and HDMI inputs and outputs.

The Atomos Sumo is available for pre-order now for $2,495. Get the complete list of specs here.

Avid Everywhere
This year, Avid Media Composer editors saw a roadmap for future updates like an updated Title Tool that is higher than HD compatible (finally!), an advanced color correction mode and Avid Everywhere based on the MediaCentral platform.

If you’ve ever seen an app like Avid Media Composer work through the cloud, you will probably agree how amazing it is. If you haven’t, essentially you will log in to Media Composer via a web browser or a light on machine app that runs all of the hard processing on the server that you are logging in to. The beauty of this is that you can essentially log in wherever you want and edit. Since the hard work is being done on the other end you can log in using a laptop or even a tablet that has decent Internet speed and edit high-resolution media. Here comes that editing on the beach job I was wanting. You can check out all of the Avid Everywhere updates here.

In addition Avid announced Media Composer First — a free version of Media Composer. They also released an updated IO – DNxIQ, essentially with the Thunderbolt 3 update along with a live cross-convert .

Sony a9
With all eyes on Sony to reveal the most anticipated full frame cameras in prosumer history — a7RIII and a7SIII — we are all surprised when they unveiled the 24.4MP a9. The a9 is Sony’s answer to heavy weights Canon and Nikon professional full-frame cameras that have run the markets for years.

With a pretty amazing blackout-free continuous shooting ability alongside an Ethernet port and dual SD card slots, the a9 is a beauty. While I am not a huge fan of Sony’s menu setup, I am really interested to see the footage and images come out on the web; there is something great about Sony’s images and video in my eyes. Besides my personal thoughts, there is also a five-axis in-body stabilization, UHD (3840×2160) video recording across the entire width of the sensor and even Super 35 recording. Check out more info here .

In the end, NAB 2017 was a little lackluster in terms of barn-burner hardware and software releases, however I feel that Blackmagic has taken the cake with the DaVinci Resolve 14 release. Keep in mind Blackmagic is also releasing updates to products like the Ursa Mini Pro, new Hyperdeck Studio Mini and updates to the ultra-competitive Blackmagic Video Assist, adding ever-valuable scopes.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Review: Avid Media Composer 8.5 and 8.6

By Brady Betzel

It seems that nonlinear editing systems, like Adobe Premiere, Apple FCP X, Lightworks, Vegas and Blackmagic Resolve are being updated almost weekly. At first, I was overjoyed with the frequent updates. It got to the point where I would see a new codec released on a Monday and by Friday you could edit with it (maybe a slight exaggeration, but pretty close to the truth). Unfortunately, this didn’t always mean the updates would work.

One thing that I have learned over the last decade is that reliable software is worth its weight in gold, and one NLE that has always been reliable in my work is Avid Media Composer. While Media Composer isn’t updated weekly, it has been picking up steam and has really given its competitors a run for their money.

With Avid Media Composer’s latest updates, including 8.5 and all the way through 8.6.1, we are seeing the true progression of THE gold standard in nonlinear editing software. From the changes that editors have been requesting for years, like the ability to add a new track to the timeline by simply dragging a clip, all the way to selecting all clips with the same source clip color in the timeline (an online editor’s dream — or maybe just mine), Media Composer is definitely heading in the right direction. Once they fix options, such as the Title Tool, I am sure many others will be in the same boat I am. Even with Adobe’s latest update news of Team Projects, I think Avid’s project sharing will remain on top, but don’t get me wrong, I love the competition and believe it’s healthy for the industry in general.

Digging In
So how great are the latest updates in Media Composer? Well, I am going to touch on a few that really make our lives as editors easier and more efficient, including the new Source Browser; custom-sized project creation Preset Manager; Audio Channel Grouping; grouping clips by audio waveform; and many more.

For simplicity’s sake I won’t be pointing out which update contained exactly what, so let’s just assume that you and I are both talking about 8.6.1. Even though 8.6.2 was released, it was subsequently pulled down because of a bad installer and replaced by 8.6.3. Long story short, I did this review right before 8.6.3 was released so I am sticking to 8.6.1. You can find the read me file for any 8.6.3 related bug fixes and feature updates, including Realtime EQ and Audio Suite Effects.

Source Browser
Let’s take a look at the new Source Browser first. If you have worked in Premiere Pro before then you are basically familiar with what the Source Browser does. Simply put, it’s a live access point from within Media Composer where you can either link to media (think AMA) or import media (the traditional way). The Source Browser is great because you can always leave it open if you want, or close it and reopen it whenever you want. One thing I found funny is that there was not a default shortcut to open the Source Browser — you have to manually map it.

Nonetheless, it’s a fast way to load media into your Source Monitor without bringing the media into a bin. It even has a Favorites tab to keep all of the media you access on a regular basis in the same place — a good spot for transition effects, graphics, sound effects and even music cues that you find yourself using a lot. The Source Browser can be found under the Tools menu. While I’ve seen some complaints about the menu reorganization and the new Source Browser, I like what Avid has done. The updated layout and optimized menu items seem to be a good fit for me, it will just take a little time to get used to.

Up next is my favorite update to Media Composer since I discovered the Select Right and Select Left commands without Filler and how to properly use the extend edit function: selecting clips in the timeline based on source color. If you’ve ever had to separate clips onto different video and audio tracks, you will understand the monotony and pain that a lot of assistant editors and conforming editors have to go through. Let’s say you have stock footage mixed in with over two hours of shot footage and you want to quickly raise all of the clips onto their own video layer. Previously, you would have to move each clip individually using the segment tool (or shift + click a bunch of clips), but now you can select every clip with the same source color at once.

Color Spaces

First, you should (or at least I recommend that you should) enable Source Color in your timeline, but you don’t have to for this to work. Second, you use either the red or yellow segment tools or alt (option) + click from left to right over the clip with the color that you want to select throughout the timeline. Once the clip is selected you will right click on the clip. Under the Select menu, click on Clips with the Same Source Color. Every clip with that same color will be selected and you can Shift + CTRL drag the clips to a new track. Make this a shortcut and holy cow — imagine the time you will save!

Immediately, I think of trouble shots that might need a specific color correction or image restoration applied to them like a dead pixel that appears throughout a sequence. In the bin, color the trouble clips one color, select them all in the timeline and bam you are ready to go, quickly and easily. This update is a game changer for me. Under the Select menu you will see a few other options like Offline Clips, Select Clips with No Source Color, Select Clips with Same Local Color, and even Reverse Selection.

Audio
Now let’s jump into the audio updates. First off is the nesting of audio effects. I mean come on! How many times have I wanted to apply a Vari-Fi effect at the end of a music cue and add D-Verb on top of it?! Now I can create all sorts of slow down promo/sizzle reel madness that a mixer will hate me for without locking myself into a decision!

I tried this a few times expecting my Media Composer to crash, but it worked like a champ. Previously, as a workaround, I had to mixdown the Vari-Fi audio (locking me into that audio with no easy way of going back) and apply the D-Verb to the audio mixdown. This isn’t the cleanest workflow but it guaranteed my Vari-Fi would make it into the mix. Now I guess I will have to trust the mixer to not strip my audio effects off of the AAF we send them.

Digging a bit further into the audio updates for Media Composer 8.5 and 8.6, I found the ability to add up to 64 tracks of audio and, more specifically, 64 voices. Sixty-four voices can be laid out in these possible combinations: 64 mono tracks, 32 stereo tracks, 10-5.1 tracks plus four mono tracks or even eight 7.1 tracks.

Nested Audio

Let’s be honest — from one editor to another — do we really need to use all 64 tracks of audio? I urge you to use this sparingly, and only if you have to. No one wants to be scrolling through 64 tracks of audio. I am hesitant to totally embrace this, because while it is an incredible update to Media Composer, it allows for editors to be sloppy, and nobody has time for that. Also, older versions of Media Composer won’t be able to open your sequence as they are not backwards compatible with this.

My second favorite update in Media Composer is Audio Groups. I am a pretty organized (a.k.a. obsessive-compulsive editor), and with my audio I typically lay out voiceover and ADR on tracks 1-2, dialogue on 3-6, sound effects on 7-12 and music on 13-16.

These have to be fluid, and I find that these fit my screen real estate well. They keep my audio edit as tidy as possible, although now with 64 tracks I can obviously expand. But one thing that always sucked was having to mute each track individually or all at once. Now, in the Audio Mixer you can easily create groups of audio tracks that can be enabled and disabled with one click instead of individually selecting each audio track. For instance, I can group all of my music tracks together to toggle them off and on with one check box. In the Audio Mixer there is a small arrow on the upper left that you will twirl down, select the audio tracks that you want to group, such as tracks 13-16 for music, right click, click Create New Group, name it and there you go — audio track selection glory.

Audio Ducking

Last in the audio updates is Audio Ducking. When I think of Audio Ducking I think of having a track of voiceover or ADR over the top of a music bed. Typically, I would go through and either add audio keyframes where I need to lower the music bed or create add edits, lower the audio in the mixer, apply a dissolve between edits and repeat throughout the segment.

Avid has really stepped its game up with Audio Ducking because now I can specify which of my dialogue tracks I want Avid to calculate for when my music bed is playing. You can even twirl down the advanced settings, adjust threshold and hold time for the dialogue tracks, as well as attenuation and ramp time for the music bed tracks. I tried it and it worked. I won’t go as far as to say that you should just use that instead of doing your own music edits, but it is an interesting feature that may help a few people.

Wait, There’s More
There were a few straggling updates I didn’t touch on you will want to check out. Avid has added support for HDR color spaces, such as RGB DCI-P3, RGB 2020 and many more. Once I get my hands on some sweet HDR footage (and equipment to monitor it) I will dabble in that space.

Also, you can now group footage by audio waveform. While grouping by audio waveform is an awesome addition, especially if you have previously used Red Giant’s PluralEyes and feel left out because they discontinued AAF support, it lacks a few adjustments that I find absolutely necessary when working with hours upon hours of footage. For instance, I would love to be able to manually sync clips that don’t have audio loud enough for Avid to discern properly and create a group. Even more so, for all grouping I would really love to be able to adjust the group after it has been created. If after the group was created I could alter it inside of a sequence that would immediately reflect my changes in the group itself, I —along with about one million other editors and assistant editors — would jump for joy.

Lastly, the Effects Tab has been improved with its Quick Find search-ability. Type in the effect you are looking for and it will pop up. This is another game-changing feature to me.

Summing Up
For a while there I thought Avid was satisfied to stay the course in 1080p land, but luckily that isn’t the case. They have added resolution independence, custom project resolutions, and while they have added features to Media Composer — like Source Browser and the ever-improving Frame Flex — they kept their project sharing and rock solid media management at the top level.

Even after all of these updates I mentioned, there are still some features that I would love to see. Those include built-in composite modes in the Effects Pallette; editable groups; an improved Title Tool that will work in 4K and higher resolutions without going to a third-party for support; updated Symphony Color Correction tools; smart mix-downs that can inherit alpha channels; the ability to disable video layers but still see all the layers above and below; and many more.

If I had to use just one word to describe Media Composer, I would say reliable. I love reliability more than fancy features. And now that you heard my Media Composer review, you can commence trolling on Twitter @allbetzroff.

Brady Betzel is an online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Earlier this year, Brady was nominated for an Emmy for his work on Disney’s Unforgettable Christmas Celebration.

EditShare launches Flow Story at IBC, promotes Peter Lambert

At IBC, EditShare is launching its new Flow Story, a professional remote editing application. A module of the EditShare Flow media asset management solution, Flow Story offers advanced proxy editing and roundtrip workflow support with professional editing features and functions courtesy of the Lightworks NLE engine.

Flow Story allows users to work remotely with secure access to on-premises storage and media assets via an Internet connection. Flow Story lets users assemble content, add voiceovers and collaborate with other NLEs for finishing, delivery or playout of packages. Direct access to on-premises storage accelerates content exchange within the safety of a secure network.

Feature Highlights
• Wide Format Support — Flow Story supports hundreds of formats, including ProRes, Avid DNxHD, AVC-Intra and XDCAM, through to 4K and beyond, such as Red R3D, XAVC, Cinema DNG and DPX. As well as working with low-resolution proxy files, users can import and publish many popular formats to the EditShare storage server.
• Voiceover — Simple-to-use VO tools let users finalize packages at their desk or out in the field. Flow Story auto-detects and enables any connected audio input device. Users can upload newly created voiceover files and clips they have created locally.
• Edit While Capture — Flow Story’s Edit While Capture feature allows any format (including Long GOP) to be accessed during recording using EditShare Flow MAM or Geevs Ingest servers. This is ideal for fast turnaround environments such as live events and sports highlights.
• Realtime collaboration — When connected to any EditShare Flow Database, Flow Story has real time collaboration with other Flow users, such as Flow Browse and AirFlow. Projects, clips, sequences, markers and metadata are all updated and synchronized in realtime.
• NLE Integration — Flow Story supports industry-standard NLEs (and DAWs) such as Avid Media Composer, Adobe Premiere, Blackmagic DaVinci Resolve and Avid Pro Tools. A creative hub, Flow Story facilitates collaboration among editors through AAF, an interchange file format that advances round-trip workflows.
• Work Offline — Flow Story is purpose-built with remote editing in mind. While you only need a regular Internet connection to access your content, that is not always possible. Flow Story can work in a standalone mode, accessing existing Flow projects in motion. Flow Story projects are synchronized via Internet.
• Advanced realtime effects, including Color, Titles and DVEs — Using the power of the graphics card, all the realtime effects can be played back remotely or locally without the need for rendering or flattening.
• Third-party integration with Audio Network — Browse the selection of Audio Network music directly from within Flow Story. Stream MP3 audio files directly over sequences, add search criteria that best suits requirements, then register or sign in to purchase directly. The full quality track is then downloaded and available within the project.

In Other Editshare news, Peter Lambert has been named worldwide sales director. An industry business development executive with more than 25 years of experience, including his start at the BBC as an audio engineer, Lambert recently held the director of sales position for EditShare’s APAC region.

“Since coming on board to manage our Asia Pacific regional business, Peter has been instrumental in rebuilding the channel and has been a steady advocate for building up our technical, sales and administrative staff in the region. Peter has brought order and stability to our business in the region, and largely as a result of his efforts we have seen substantial growth and stronger client relations,” says Andy Liebman, CEO, EditShare. Responsible for the company’s overall sales strategy and reseller partner program, Lambert’s appointment is effective immediately.

Mocha now plug-in for NLEs, BCC 10 integrates Mocha 5

The big news from Boris FX/Imagineer at IBC this year was that the soon-to-be-released Mocha Pro planar tracking and roto masking technology will be available as a plug-in for Avid, Adobe and OFX. This brings all of the tools from Mocha Pro to these NLEs — no more workarounds needed. This Mocha Pro 5 plug-in, which will be available in a month, incorporates a new effects panel for integrated keying, grain, sharpening and skin smoothing as well as new Python scripting support and more.

“Avid editors have always asked us for the Mocha planar tracking tools on their timeline. Now with the Imagineer/Boris FX collaboration, we are bringing the full Mocha Pro to Avid,” explains Ross Shain, CMO at BorisFX/Imagineer. “Media Composer and Symphony users will be able to handle more complex effects and finishing tasks, without importing/exporting footage. Just drop the Mocha Pro plug-in on your clip and you immediately have access to the same powerful tracking, stabilization and object removal tools used in high-end feature film visual effects.”

The availability of this plugin coincides with the Mocha Pro 5 release.

In other company news, Boris FX’s upcoming Boris Continuum Complete (BCC) 10 will have Mocha planar tracking and masking embedded. This is inside every BCC 10 plug-in and can be used for isolating areas of the effect with Mocha masks. The first version to ship will be BCC 10 for Avid in a few weeks.

Besides integrating Mocha Pro 5, BCC 10 will also offer a new Beauty Studio skin-retouching filter, new 3D titling and animation tools, import of Maxon Cinema 4D models, new image restoration filters, new transitions and more host support.

Vidcheck heading to NAB with ‘Vidapps’ for After Effects, Premiere

Video processed with Adobe After Effects or Premiere Pro will soon be able to take advantage of Vidcheck’s intelligent “Vidapps-Video” plug-in to correct RGB gamut and YUV levels within the NLE.

Uk-based Vidcheck, which makes automated quality control software with patented intelligent video and audio correction, will be at NAB this year showing the latest version of its Vidchecker and Vidfixer product suites. These have been extended to include a range of video applications (Vidapps) for Adobe After Effects and Premiere Pro, enabling users to check and automatically correct video and audio errors without leaving the Adobe environment.

This means that users of Adobe After Effects and Premiere Pro can correct illegal video levels to broadcast safe parameters using Vidcheck’s patented algorithms which correct the video without clamping it. (Clamping being an antiquated means of achieving broadcast safe content that can cause undesirable degradations of the resulting picture).

Vidcheck’s Vidapps-Video provides checking and correction as part of the edit process and is designed to be used as the last stage of post production, immediately before the media is rendered. This approach means the user can be confident that the rendered media will fully comply with the specified requirements before it leaves the Adobe environment.

As part of using Vidapps, an XML report can be generated and saved as a record that QC corrections were done and, if required, be forwarded to the client for the media file. The report can also be ‘skinned’ with the logo and colors of the post house/video editor to make it highly specific and identifiable to them.

Additional Vidapps plug-ins are currently available for audio and photosensitive epilepsy (PSE) checking, and others are in development for introduction later in 2015.

Vidcheck’s core Vidchecker and Vidfixer AQC products are scalable from low-cost versions for post production to sophisticated Vidchecker/Vidfixer Grid systems suitable for larger enterprises. In addition to watch folder automation, Vidcheck’s API has been integrated into many MAM and workflow engine solutions across the industry for seamless addition of complex AQC into any workflow.

Radical/Outpost’s Evan Schechtman talks latest FCP X updates, NLE trends

By Randi Altman

As you might have heard, Apple has updated its Final Cut Pro to version 10.1.4, with what they call “key stability improvements.”

That includes the Pro Video Formats 2.0 software update, which provides native support for importing, editing and exporting MXF files with Final Cut Pro X. While the system already supported import of MXF files from video cameras, this update extends the format support to a broader range of files and workflows.

In addition the native MXF support, there is also an option to export AVC-Intra MXF files.  There are fixes for past issues with automatic library backups. It also fixes a problem where clips Continue reading

Review: Lightworks V.12.0.i NLE from Editshare

By Brady Betzel

There are more NLE choices for editors these days than ever before: Avid Media Composer, Adobe Premiere Pro, Apple Final Cut Pro, Autodesk Smoke, Blackmagic Resolve 11, Sony Vegas… and Lightworks. Remember that one? It has (quietly) been around for as long as Media Composer, and thanks to Editshare it has been given a new life.

Lightworks has been around and in use by some for approximately 25 years! For me it’s been that elusive NLE that I’ve occasionally heard about but have never used and have never seen any other editors use (although it’s the tool of choice for Martin Scorsese’s editor Thelma Schoonmaker), so when asked to review it my interest was piqued.

Recently, Lightworks (@ESLightworks) has been doing a free public beta test for its forthcoming Continue reading

Cool Tool: The AATranslator

We recently reached out to sound engineer/head of production Cory Choy, who helps run Silver Sound Studios (www.silversound.us) in NYC, and asked him about gear he uses as part of his day-to-day workflow. He was happy to share his experience with a lesser-known tool by an Australian-based company, called AATranslator.

Continue reading