Tag Archives: Adobe Premiere

Arvato to launch VPMS MediaEditor NLE at NAB

First seen as a technology preview at IBC 2018, Arvato’s MediaEditor is a browser-based desktop editor aimed at journalistic editing and content preparation workflows. MediaEditor projects can be easily exported and published in various formats, including square and vertical video, or can be opened in Adobe Premiere with VPMS EditMate for craft editing.

MediaEditor, which features a familiar editing interface, offers simple drag-and-drop transitions and effects, as well as basic color correction. Users can also record voiceovers directly into a sequence, and the system enables automatic mixing of audio tracks for quicker turnaround. Arvato will add motion graphics for captioning and pre-generated graphics in an upcoming version of MediaEditor.

MediaEditor is a part of Arvato Systems’ Video Production Management Suite (VPMS) enterprise MAM solution. Like other products in the suite, it can be independently deployed and scaled, or combined with other products for workflows across the media enterprise. MediaEditor can also be used with Vidispine-based systems, and VPMS and Vidispine clients can access their material through MediaEditor whether on-premise or via the cloud. MediaEditor takes advantage of the advanced VPMS streaming technology allowing users to work anywhere with high-quality, responsive video playback, even on lower-speed connections.

InSync intros frame rate converter plug-in for Mac-based Premiere users

InSync Technology’s FrameFormer motion compensated frame rate converter now is available as a plug-in for Adobe Premiere Pro users working on Macs. Simplifying and accelerating deployment through automated settings, FrameFormer provides conversion for all types of content from sub-QCIF up to 8K and beyond.

“Frame rate conversion is an essential requirement for monetizing content domestically and internationally, as well as for integrating mixed frame rate footage into a production,” reports managing director of InSync Technology Paola Hobson. “A high-quality motion compensated standards converter is the only solution for these applications, and we’re adding to our solutions for Mac users with our new FrameFormer plug-in for Adobe Premiere Pro for macOS.”

The FrameFormer Adobe Premiere Pro Mac plug-in complements InSync’s plug-ins for Final Cut Pro (Mac) and Adobe Premiere Pro (Windows), quickly and conveniently meeting any frame rate and format conversion requirements. Integrated seamlessly into Adobe Premiere Pro, the plug-in offers a simple user interface that allows users to select the required conversion and to preview in-progress results via on-screen thumbnails.

“In repurposing different frame rate material for integration into your media projects, attention to detail makes all the difference,” added Hobson. “Picture quality must be preserved at every step because even the smallest error introduced early in the process will propagate, resulting in highly visible defects down the line. Now our family of FrameFormer plug-ins gives Adobe Premiere Pro users working on both Mac and Windows systems confidence in the results of their frame rate conversion processes.”

FrameFormer is available in a standard edition that provides conversions for content up to HD resolution, with presets for common conversions, and in a professional edition that provides conversions for content up to UHD and beyond.

Review: Boris FX’s Continuum and Mocha Pro 2019

By Brady Betzel

I realize I might sound like a broken record, but if you are looking for the best plugin to help with object removals or masking, you should seriously consider the Mocha Pro plugin. And if you work inside of Avid Media Composer, you should also seriously consider Boris Continuum and/or Sapphire, which can use the power of Mocha.

As an online editor, I consistently use Continuum along with Mocha for tight blur and mask tracking. If you use After Effects, there is even a whittled-down version of Mocha built in for free. For those pros who don’t want to deal with Mocha inside of an app, it also comes as a standalone software solution where you can copy and paste tracking data between apps or even export the masks, object removals or insertions as self-contained files.

The latest releases of Continuum and Mocha Pro 2019 continue the evolution of Boris FX’s role in post production image restoration, keying and general VFX plugins, at least inside of NLEs like Media Composer and Adobe Premiere.

Mocha Pro

As an online editor I am alway calling on Continuum for its great Chroma Key Studio, Flicker Fixer and blurring. Because Mocha is built into Continuum, I am able to quickly track (backwards and forwards) difficult shapes and even erase shapes that the built-in Media Composer tools simply can’t do. But if you are lucky enough to own Mocha Pro you also get access to some amazing tools that go beyond planar tracking — such as automated object removal, object insertion, stabilizing and much more.

Boris FX’s latest updates to Boris Continuum and Mocha Pro go even further than what I’ve already mentioned and have resulted in a new version naming, this round we are at 2019 (think of it as Version 12). They have also created the new Application Manager, which makes it a little easier to find the latest downloads. You can find them here. This really helps when jumping between machines and you need to quickly activate and deactivate licenses.

Boris Continuum 2019
I often get offline edits effects from a variety plugins — lens flares, random edits, light flashes, whip transitions, and many more — so I need Continuum to be compatible with offline clients. I also need to use it for image repair and compositing.

In this latest version of Continuum, BorisFX has not only kept plugins like Primatte Studio, they have brought back Particle Illusion and updated Mocha and Title Studio. Overall, Continuum and Mocha Pro 2019 feel a lot snappier when applying and rendering effects, probably because of the overall GPU-acceleration improvements.

Particle Illusion has been brought back from the brink of death in Continuum 2019 for a 64-bit keyframe-able particle emitter system that can even be tracked and masked with Mocha. In this revamp of Particle Illusion there is an updated interface, realtime GPU-based particle generation, expanded and improved emitter library (complete with motion-blur-enabled particle systems) and even a standalone app that can design systems to be used in the host app — you cannot render systems inside of the standalone app.

While Particle Illusion is a part of the entire Continuum toolset that works with OFX apps like Blackmagic’s DaVinci Resolve, Media Composer, After Effects, and Premiere, it seems to work best in applications like After Effects, which can handle composites simply and naturally. Inside the Particle Illusion interface you can find all of the pre-built emitters. If you only have a handful make sure you download additional emitters, which you can find in the Boris FX App Manager.

       
Particle Illusion: Before and After

I had a hard time seeing my footage in a Media Composer timeline inside of Particle Illusion, but I could still pick my emitter, change specs like life and opacity, exit out and apply to my footage. I used Mocha to track some fire from Particle Illusion to a dumpster I had filmed. Once I dialed in the emitter, I launched Mocha and tracked the dumpster.

The first time I went into Mocha I didn’t see the preset tracks for the emitter or the world in which the emitter lives. The second time I launched Mocha, I saw track points. From there you can track where you want your emitter to track and be placed. Once you are done and happy with your track, jump back to your timeline where it should be reflected. In Media Composer I noticed that I had to go to the Mocha options and change the option from Mocha Shape to no shape. Essentially, the Mocha shape will act like a matte and cut off anything outside the matte.

If you are inside of After Effects, most parameters can now be keyframed and parented (aka pick-whipped) natively in the timeline. The Particle Illusion plugin is a quick, easy and good-looking tool to add sparks, Milky Way-like star trails or even fireworks to any scene. Check out @SurfacedStudio’s tutorial on Particle Illusion to get a good sense of how it works in Adobe Premiere Pro.

Continuum Title Studio
When inside of Media Composer (prior to the latest release 2018.12), there were very few ways to create titles that were higher resolution than HD (1920×1080) — the New Blue Titler was the only other option if you wanted to stay within Media Composer.

Title Studio within Media Composer

At first, the Continuum Title Studio interface appeared to be a mildly updated Boris Red interface — and I am allergic to the Boris Red interface. Some of the icons for the keyframing and the way properties are adjusted looks similar and threw me off. I tried really hard to jump into Title Studio and love it, but I really never got comfortable with it.

On the flip side, there are hundreds of presets that could help build quick titles that render a lot faster than New Blue Titler did. In some of the presets I noticed the text was placed outside of 16×9 Title Safety, which is odd since that is kind of a long standing rule in television. In the author’s defense, they are within Action Safety, but still.

If you need a quick way to make 4K titles, Title Studio might be what you want. The updated Title Studio includes realtime playback using the GPU instead of the CPU, new materials, new shaders and external monitoring support using Blackmagic hardware (AJA will be coming at some point). There are some great pre-sets including pre-built slates, lower thirds, kinetic text and even progress bars.

If you don’t have Mocha Pro, Continuum can still access and use Mocha to track shapes and masks. Almost every plugin can access Mocha and can track objects quickly and easily.
That brings me to the newly updated Mocha, which has some new features that are extremely helpful including a Magnetic Spline tool, prebuilt geometric shapes and more.

Mocha Pro 2019
If you loved the previous version of Mocha, you are really going to love Mocha Pro 2019. Not only do you get the Magnetic Lasso, pre-built geometric shapes, the Essentials interface and high-resolution display support, but BorisFX has rewritten the Remove Module code to use GPU video hardware. This increases render speeds about four to five times. In addition, there is no longer a separate Mocha VR software suite. All of the VR tools are included inside of Mocha Pro 2019.

If you are unfamiliar with what Mocha is, then I have a treat for you. Mocha is a standalone planar tracking app as well as a native plugin that works with Media Composer, Premiere and After Effects, or through OFX in Blackmagic’s Fusion, Foundry’s Nuke, Vegas Pro and Hitfilm.

Mocha tracking

In addition (and unofficially) it will work with Blackmagic DaVinci Resolve by way of importing the Mocha masks through Fusion. While I prefer to use After Effects for my work, importing Mocha masks is relatively painless. You can watch colorist Dan Harvey run through the process of importing Mocha masks to Resolve through Fusion, here.

But really, Mocha is a planar tracker, which means it tracks multiple points in a defined area that works best in flat surfaces or at least segmented surfaces, like the side of a face, ear, nose, mouth and forehead tracked separately instead of all at once. From blurs to mattes, Mocha tracks objects like glue and can be a great asset for an online editor or colorist.

If you have read any of my plugin reviews you probably are sick of me spouting off about Mocha, saying how it is probably the best plugin ever made. But really, it is amazing — especially when incorporated with plugins like Continuum and Sapphire. Also, thanks to the latest Media Composer with Symphony option you can incorporate the new Color Correction shapes with Mocha Pro to increase the effectiveness of your secondary color corrections.

Mocha Pro Remove module

So how fast is Mocha Pro 2019’s Remove Module these days? Well, it used to be a very slow process, taking lots of time to calculate an object’s removal. With the latest Mocha Pro 2019 release, including improved GPU support, the render time has been cut down tremendously. In my estimation, I would say three to four times the speed (that’s on the safe side). In Mocha Pro 2019 removal jobs that take under 30 seconds would have taken four to five minutes in previous versions. It’s quite a big improvement in render times.

There are a few changes in the new Mocha Pro, including interface changes and some amazing tool additions. There is a new drop-down tab that offers different workflow views once you are inside of Mocha: Essentials, Classic, Big Picture and Roto. I really wish the Essentials view was out when I first started using Mocha, because it gives you the basic tools you need to get a roto job done and nothing more.

For instance, just giving access to the track motion objects (Translation, Scale, Rotate, Skew and Perspective) with big shiny buttons helps to eliminate my need to watch YouTube videos on how to navigate the Mocha interface. However, if like me you are more than just a beginner, the Classic interface is still available and one I reach for most often — it’s literally the old interface. Big Screen hides the tools and gives you the most screen real estate for your roto work. My favorite after Classic is Roto. The Roto interface shows just the project window and the classic top toolbar. It’s the best of both worlds.

Mocha Pro 2019 Essentials Interface

Beyond the interface changes are some additional tools that will speed up any roto work. This has been one of the longest running user requests. I imagine the most requested feature that BorisFX gets for Mocha is the addition of basic shapes, such as rectangles and circles. In my work, I am often drawing rectangles around license plates or circles around faces with X-splines, so why not eliminate a few clicks and have that done already? Answering my need, Mocha now has elliptical and rectangular shapes ready to go in both X-splines and B-splines with one click.

I use Continuum and Mocha hand in hand. Inside of Media Composer I will use tools like Gaussian Blur or Remover, which typically need tracking and roto shapes created. Once I apply the Continuum effect, I launch Mocha from the Effect Editor and bam, I am inside Mocha. From here I track the objects I want to affect, as well as any objects I don’t want to affect (think of it like an erase track).

Summing Up
I can save tons of time and also improve the effectiveness of my work exponentially when working in Continuum 2019 and Mocha Pro 2019. It’s amazing how much more intuitive Mocha is to track with instead of the built-in Media Composer and Symphony trackers.

In the end, I can’t say enough great things about Continuum and especially Mocha Pro. Mocha saves me tons of time in my VFX and image restoration work. From removing camera people behind the main cast in the wilderness to blurring faces and license plates, using Mocha in tandem with Continuum is a match made in post production heaven.

Rendering in Continuum and Mocha Pro 2019 is a lot faster than previous versions, really giving me a leg up on efficiency. Time is money right?! On top of that, using Mocha Pro’s magic Object removal and Modules takes my image restoration work to the next level, separating me from other online editors who use standard paint and tracking tools.

In Continuum, Primatte Studio gives me the leg up on greenscreen keys with its exceptional ability to auto analyze a scene and perform 80% of the keying work before I dial-in the details. Whenever anyone asks me what tools I couldn’t live without, I without a doubt always say Mocha.
If you want a real Mocha Pro education you need to watch all of Mary Poplin’s tutorials. You can find them on YouTube. Check out this one on how to track and replace a logo using Mocha Pro 2019 in Adobe After Effects. You can also find great videos at Borisfx.com.

Mocha point parameter tracking

I always feel like there are tons of tools inside of the Mocha Pro toolset that go unused simply because I don’t know about them. One I recently learned about in a Surfaced Studio tutorial was the Quick Stabilize function. It essentially stabilizes the video around the object you are tracking allowing you to more easily rotoscope your object with it sitting still instead of moving all over the screen. It’s an amazing feature that I just didn’t know about.

As I was finishing up this review I saw that Boris FX came out with a training series, which I will be checking out. One thing I always wanted was a top-down set of tutorials like the ones on Mocha’s YouTube page but organized and sent along with practical footage to practice with.

You can check out Curious Turtle’s “More Than The Essentials: Mocha in After Effects” on their website where I found more Mocha training. There is even a great search parameter called Getting Started on BorisFX.com. Definitely check them out. You can never learn enough Mocha!


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: Picture Instruments’ plugin and app, Color Cone 2

By Brady Betzel

There are a lot of different ways to color correct an image. Typically, colorists will start by adjusting contrast and saturation followed by adjusting the lift, gamma and gain (a.k.a. shadows, midtones and highlights). For video, waveforms and vectorscopes are great ways of measuring color values and are about the only way to get the most accurate scientific facts on the colors you are manipulating.

Whether you are in Blackmagic Resolve, Avid Media Composer, Adobe Premiere Pro, Apple FCP X or any other nonlinear editor or color correction app, you usually have similar color correction tools across apps — whether you color based on curves, wheels, sliders or even interactively on screen. So when I heard about the way that Picture Instruments Color Cone 2 color corrects — via a Cone (or really a bicone) — I was immediately intrigued.

Color Cone 2 is a standalone app but also, more importantly, a plugin for Adobe After Effects, Adobe Premiere Pro and FCP X. In this review I am focusing on the Premiere Pro plugin, but keep in mind that the standalone version works on still images and allows you to export a 3dl or cube LUTs — a great way for a client to see what type of result you can get quickly from just a still image.

Color Cone 2 is literally a color corrector when used as a plugin for Adobe Premiere. There are no contrast and saturation adjustments, just the ability to select a color and transform it. For instance, you can select a blue sky and adjust the hue, chromanance (saturation) and/or luminance of the resulting color inside of the Color Cone plugin.

To get started you apply the Color Cone 2 plugin to your clip — the plugin is located under Picture Instruments in the Effects tab. Then you click the little square icon in the effect editor panel to open up the Color Cone 2 interface. The interface contains the bicone image representation of the color correction, presets to set up a split-tone color map or a three-point color correct, and the radius slider to adjust the effect your correction has on surrounding color.

Once you are set on a look you can jump out of the Color Cone interface and back into the effect editor inside of Premiere. There you can keyframe all of the parameters you adjusted in the Color Cone interface. This allows for a nice and easy way to transition from no color correction to color correction.

The Cone
The Cone itself is the most interesting part of this plugin. Think of the bicone as the 3D side view of a vectorscope. In other words, if the vectorscope view from a traditional scope is the top view — the bicone in Color Cone would be a side view. Moving your target color from the top cone to the bottom cone will adjust your lightness to darkness (or luminance). At the intersection of the cones is the saturation (or chromanance) and when moving from the center outwards saturation is increased. When a color is selected using the eye dropper you will see a square, which represents the source color selection, a circle representing the target color and an “x” with a line for reference on the middle section.

Additionally, there is a black circle on the saturation section in the middle that shows the boundaries of how far you can push your chromanance. There is a light circle that represents the radius of how surrounding colors are affected. Each video clip can have effects layered on them and one instance of the plugin can handle five colors. If you need more than five, you can add another instance of the plugin to the same clip.

If you are looking to export 3dl and Cube LUTs of your work you will need to use the standalone Color Cone 2 app. The one caveat to using the standalone app is that you can only apply color to still images. Once you do that you can export the LUT to be used in any modern NLE/color correction app.

Summing Up
To be honest, working in Color Cone 2 was a little weird for me. It’s not your usual color correction workflow, so I would need to sit with the plugin for a while to get used to its setup. That being said, it has some interesting components that I wish other color correction apps would use, such as the Cone view. The bicone is a phenomenal way to visualize color correction in realtime.

In my opinion, if Picture Instruments would sell just the Cone as a color measurement tool to work in conjunction with Lumetri, they would have another solid tool. Color Cone 2 has a very unique and interesting way to color correct in Premiere that acts as an advanced secondary color correct tool to the Lumetri color correction tools.

The Color Cone 2 standalone app and plugin costs $139 when purchased together, or $88 individually. In my opinion, video people should probably just stick to the plugin version. Check out Picture Instrument’s website for more info on Color Cone 2 as well as their other products. And check them out on Twitter @Pic_instruments.


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: Puget Systems Genesis I custom workstation

By Brady Betzel

With so many companies building custom Windows-based PCs these days, what really makes for a great build? What would make me want to pay someone to build me a PC versus building it myself? In this review, I will be going through a custom-built PC sent to me to review by Puget Systems. In my opinion, besides the physical components, Puget Systems is the cream of the crop of custom -built PCs. Over the next few paragraphs I will focus on how Puget Systems identified the right custom-built PC solution for me (specifically for post), how my experience was before, during and after receiving the system and, finally, specs and benchmarks of the system itself.

While quality components are definitely a high priority when building a new workstation, the big thing that sets Puget Systems’ apart from the rest of the custom-built PC pack is the personal and highly thorough support. I usually don’t get the full customer experience when reviewing custom builds. Typically, I am sent a workstation and maybe a one-sheet to accompany the system. To Puget System’s credit they went from top to tail when helping me put together the system I would test. Not only did I receive a completely newly built and tested system, but I talked to a customer service rep, Jeff Stubbers, who followed up with me along the way.

First, I spoke with Jeff over the phone. We talked about my price range and what I was looking to do with the system. I usually get told what I should buy — by the way, I am not a person that likes to be told what I want. I have a lot of experience not only working on high-end workstations but have been building and supporting them essentially my entire life. I actively research the latest and greatest technology. Jeff from Puget Systems definitely took the correct approach; he started by asking which apps I use and how I use them. When using After Effects, am I doing more 3D work or simple lower thirds and titles. Do I use and do I plan to continue using Avid Media Composer, Adobe Premiere Pro or Blackmagic’s DaVinci Resolve the most?

Essentially, my answers were that I use After Effects sparingly, but I do use it. I use Avid Media Composer professionally more than Premiere, but I see more and more Premiere projects coming my way. However, I think Resolve is the future, so I would love to tailor my system toward that. Oh and I dabble in Maxon Cinema 4D as well. So in theory, I need a system that does everything, which is kind of a tall order.

I told Jeff that I would love to stay below $10,000, but need the system to last a few years. Essentially, I was taking the angle of a freelance editor/colorist buying an above mid-range system. After we configured the system, Jeff continued to detail benchmarks that Puget Systems performs on a continuing basis and why two GTX 1080ti cards are going to benefit me instead of just one, as well as why an Intel i9 processor would specifically benefit my work in Resolve.

After we finished on the phone I received an email from Jeff that contained a link to webpage that continually would update me on the details and how my workstation was being built — complete with pictures of my actual system. There are also some links to very interesting articles and benchmarks on the Puget System’s website. They perform more pertinent benchmarks for post production pros than I have seen from any other company. Usually you see a few generic Premiere or Resolve benchmarks, but nothing like Puget System’s, even if you don’t buy a system from them you should read their benchmarks.

While my system went through the build and ship process, I saw pictures and comments about who did what in the process over at Puget Systems. Beth was my installer. She finished and sent the system to Kyle who ran benchmarks. Kyle then sent it to Josh for quality control. Josh discovered the second GTX 1080ti was installed in a reduced bandwidth PCIe slot and would be sent back to Beth for correction. I love seeing this transparency! It not only gives me the feeling that Puget Systems is telling me the truth, but that they have nothing to hide. This really goes a long way with me. Once my system was run through a second quality control pass, it was shipped to me in four days. From start to finish, I received my system in 12 days. Not a short amount of time, but for what Puget Systems put the system through, it was worth it.

Opening the Box
I received the Genesis I workstation in a double box. A nice large box with sturdy foam corners encasing the Fractal Design case box. There was also an accessories box. Within the accessories box were a few cables and an awesome three-ring binder filled with details of my system, the same pictures of my system, including thermal imaging pictures from the website, all of the benchmarks performed on my system (real-world benchmarks like Cinebench and even processing in Adobe Premiere) and a recovery USB 3.0 drive. Something I really appreciated was that I wasn’t given all of the third-party manuals and cables I didn’t need, only what I needed. I’ve received other custom-built PCs where the company just threw all of the manuals and cables into a Ziploc and called it a day.

I immediately hooked the system up and turned it on… it was silent. Incredibly silent. The Fractal Design Define R5 Titanium case was lined with a sound-deadening material that took whatever little sound was there and made it zero.

Here are the specs of the Puget System’s Genesis I I was sent:
– Gigabyte X299 Designare EX motherboard
– Intel Core i9 7940X 3.1GHz 14 Core 19.25MB 165W CPU
– Eight Crucial DDR4-2666 16GB RAM
– EVGA GeForce GTX 1080 TI 11GB gaming video card
– Onboard sound card
– Integrated WiFi+Bluetooth networking
– Samsung 860 Pro 512GB SATA3 2.5-inch SSD hard drive — primary drive
– Samsung 970 Pro 1TB M.2 SSD hard drive — secondary drive.
– Asus 24x DVD-RW SATA (Black) CD / DVD-ROM
– Fractal Design Define R5 titanium case
– EVGA SuperNova 1200W P2 power supply
– Noctua NH-U12DX i4 CPU cooling
– Arctic Cooling MX-2 thermal compound
– Windows 10 Pro 64-bit operating system
– Warranty: Lifetime labor and tech support, one-year parts warranty
– LibreOffice software: courtesy install
– Chrome software: courtesy install
– Adobe Creative Cloud Desktop App software: courtesy Install
– Resolve 1-3 GPU

System subtotal: $8,358.38. The price is right in my opinion, and mixed with the support and build detail it’s a bargain.

System Performance
I ran some system benchmarks and tests that I find helpful as a video editor and colorist who uses plugins and other tools on a daily basis. I am becoming a big fan of Resolve, so I knew I needed to test this system inside of Blackmagic’s Resolve 15. I used a similar sequence between Adobe Premiere and Resolve 15: a 10-minute, 23.98fps, UHD/3840×2160 sequence with mixed format footage from 4K and 8K Red, ARRI Raw UHD and ProRes4444. I added some Temporal Noise Reduction to half of the clips, including the 8K Red footage, resizes to all clips, all on top of a simple base grade.

First, I did a simple Smart User cache test by enabling the User Cache at DNxHR HQX 10-bit to the secondary Samsung 1TB drive. It took about four minutes and 34 seconds. From there I tried to playback the media un-cached, and I was able to playback everything except the 8K media in realtime. I was able to playback the 8K Red media at Quarter Res Good (Half Res would go between 18-20fps playback). The sequence played back well. I also wanted to test the export speeds. The first test was an H.264 export without cache on the same sequence. I set the H.264 output in Resolve to 23.98fps, UHD, auto-quality, no frame reordering, force highest quality debayer/resizes and encoding profile: main. The file took 11 minutes and 57 seconds. The second test was a DNxHR HQX 10-bit QuickTime with the same sequence, it took seven minutes and 44 seconds.

To compare these numbers I recently ran a similar test on an Intel i9-based MacBook Pro and with the Blackmagic eGPU with Radeon Pro 580 attached, the H.264 export took 16 minutes and 21 seconds, while a ProRes4444 took 22 minutes and 57 seconds. While not comparing apples to apples, this is still a good comparison in terms of a speed increase you can have with a desktop system and a pair of Nvidia GTX 1080ti graphics cards. With the impending release of the Nvidia GTX 2080 cards, you may want to consider getting those instead.

While in Premiere I ran similar tests with a very similar sequence. To export an H.264 (23.98fps, UHD, no cache used during export, VBR 10Mb/s target rate, no frame reordering) it took nine minutes and 15 seconds. Going a step further it took 47 minutes to export an H.265. Similarly, doing a DNxHR HQX 10-bit QuickTime export took 24 minutes.

I also ran the AJA System test on the 1TB spare drive (UHD, 16GB test file size, ProRes HQ). The read speed was 2951MB/sec and the write speed was 2569MB/sec. Those are some very respectable drive speeds, especially for a cache or project drive. If possible you would probably want to add another drive for exports or to have your RAW media stored on in order to maximize input/output speeds.

Up next was Cinebench R15: OpenGL — 153.02fps, Ref. Match 99.6%, CPU — 2905 cb, CPU (single core) — 193cb and MP Ratio 15.03x. Lastly, I ran a test that I recently stumbled upon: the Superposition Benchmark from Unigine. While it is more of a gaming benchmark, I think a lot of people use this and might glean some useful information from it. The overall score was 7653 (fps: min 45.58, avg 57.24, max 72.11, GPU degrees Celsius: min 36, max 85, GPU use: max 98%.

Summing Up
In the end, I am very skeptical of custom-build PC shops. Typically, I don’t see the value in the premium they set when you can probably build it yourself with parts you choose from PCpartpicker.com. However, Puget Systems is the exception — their support and build-quality are top notch. From the initial phone conversation to the up-to-the minute images and custom-build updates online, to the final delivery, and even follow-up conversations, Puget Systems is by far the most thorough and worthwhile custom-build PC maker I have encountered.

Check out their high-end custom build PCs and tons of benchmark testing and recommendations on their website.


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: Blackmagic’s eGPU and Intel i9 MacBook Pro 2018

By Brady Betzel

Blackmagic’s eGPU is worth the $699 price tag. You can buy it from Apple’s website, where it is being sold exclusively for the time being. Wait? What? You wanted some actual evidence as to why you should buy the BMD eGPU?

Ok, here you go…

MacBook Pro With Intel i9
First, I want to go over the latest Apple MacBook Pro, which was released (or really just updated) this past July. With some controversial fanfare, the 2018 MacBook Pro can now be purchased with the blazingly fast Intel i9, 2.6GHz (Turbo Boost up to 4.3GHz) six-core processor. In addition, you can add up to 32GB of 2400MHz DDR4 onboard memory. The Radeon Pro 560x GPU with 4GB of GDDR5 memory and even a 4TB SSD storage drive. It has four Thunderbolt 3 ports and, for some reason, a headphone jack. Apple is also touting its improved butterfly keyboard switches as well as its True Tone display technology. If you want to read more about that glossy info head over to Apple’s site.

The 2018 MacBook Pro is a beast. I am a big advocate for the ability to upgrade and repair computers, so Apple’s venture to create what is essentially a leased computer ecosystem that needs to be upgraded every year or two usually puts a bad taste in my mouth.

However, the latest MacBook Pros are really amazing… and really expensive. The top-of-the-line MacBook Pro I was provided with for this review would cost $6,699! Yikes! If I was serious, I would purchase everything but the $2,000 upgrade from the 2TB SSD drive to the 4TB, and it would still cost $4,699. But I suppose that’s not a terrible price for such an intense processor (albeit not technically workstation-class).

Overall, the MacBook Pro is a workhorse that I put through its video editing and color correcting paces using three of the top four professional nonlinear editors: Adobe Premiere, Apple FCP X and Blackmagic’s Resolve 15 (the official release). More on those results in a bit, but for now, I’ll just say a few things: I love how light and thin it is. I don’t like how hot it can get. I love how fast it charges. I don’t like how fast it loses charge when doing things like transcoding or exporting clips. A 15-minute export can drain the battery over 40% while playing Spotify for eight hours will hardly drain the battery at all (maybe 20%).

Blackmagic’s eGPU with Radeon Pro 580 GPU
One of the more surprising releases from Blackmagic has been this eGPU offering. I would never have guessed they would have gone into this area, and certainly would never have guessed they would have gone with a Radeon card, but here we are.

Once you step back from the initial, “Why in the hell wouldn’t they let it be user-replaceable and also not brand dependent” shock, it actually makes sense. If you are Mac OS user, you probably can do a lot in terms of external GPU power already. When you buy a new iMac, iMac Pro or MacBook Pro, you are expecting it to work, full stop.

However, if you are a DIT or colorist that is more mobile than that sweet million-dollar color bay you dream of, you need more. This is where the BMD eGPU falls nicely into place. You plug it in and instantly see it populate in the menu bar. In addition, the eGPU acts as a dock with four USB 3 ports, two Thunderbolt 3 ports and an HDMI port. The MacBook Pro will charge off of the eGPU as well, which eliminates the need for your charger at your docking point.

On the go, the most decked out MacBook Pro can handle its own. So it’s no surprise that FCP X runs remarkably fast… faster than everything else. However, you have to be invested in an FCP X workflow and paradigm — and while I’m not there yet, maybe the future will prove me wrong. Recently, I saw someone on Twitter who developed an online collaboration workflow, so people are excited about it.

Anyway, many of the nonlinear editors I work with can also play on the MacBook Pro, even with 4K Red, ARRI and, especially, ProRes footage. Keep in mind though, with the 2K, 4K, or whatever K footage, you will need to set the debayer to around “half good” if you want a fluid timeline. Even with the 4GB Radeon 560x I couldn’t quite play realtime 4K footage without some sort of compromise in quality.

But with the Blackmagic eGPU, I significantly improved my playback capabilities — and not just in Resolve 15. I did try and plug the eGPU into a PC with Windows 10 I was reviewing at the same time and it was recognized, but I couldn’t get all the drivers sorted out. So it’s possible it will work in Windows, but I couldn’t get it there.

Before I get to the Resolve testing, I did some benchmarking. First I ran Cinebench R15 without the eGPU attached and got the following scores: OpenGL – 99.21fps, reference match 99.5%, CPU – 947cb, CPU (single core) 190cb and MP ratio of 5.00x. With the GPU attached: Open GL — 60.26fps, reference match 99.5%, CPU — 1057 cb, CPU (single core) 186cb and MP ratio of 5.69x. Then I ran Unigine’s Valley Benchmark 1.0 without the eGPU, which got 21.3fps and a score of 890 (minimum 12.4fps/maximum 36.2fps). With the eGPU it got 25.6fps and a score of 1073 (minimum 19.2 fps/max 37.1fps)

Resolve 15 Test
I based all of my tests on a similar (although not exact for the different editing applications) 10-minute timeline, 23.98fps, 3840×2160, 4K and 8K RAW Red footage (R3D files) and Alexa (.ari and ProRes444XQ) UHD footage, all with edit page resizes, simple color correction and intermittent sharpening and temporal noise reduction (three frames, better, medium, 10, 10 and 5).

Playback: Without the eGPU I couldn’t play 23.98fps, 4K Red R3D without being set to half-res. With the eGPU I could playback at full-res in realtime (this is what I was talking about in sentence one of this review). The ARRI footage would play at full res, but would go between 1fps and 7fps at full res. The 8K Red footage would play in realtime when set to quarter-res.

One of the most re-assuring things I noticed when watching my Activity Monitor’s GPU history readout was that Resolve uses both GPUs at once. Not all of the apps did.

Resolve 15 Export Tests
In the following tests, I disabled all cache or optimized media options, including Performance Mode.

Test 1: H.264 at 23.98fps, UHD, auto-quality, no frame reordering, force highest-quality debayer/resizes and encoding profile Main)
a. Without eGPU (Radeon Pro 560x): 22 minutes, 16 seconds
b. With BMD eGPU (Radeon Pro 580): 16 minutes and 21 seconds

Test 2: H.265 10-bit, 23.98/UHD, auto quality, no frame reordering, force highest-quality debayer/resizes)
a. Without eGPU: stopped rendering after 10 frames
b. With BMD eGPU: same result

Test 3:
ProRes4444 at 23.98/UHD
a. Without eGPU: 27 min and 29 seconds
b. With BMD eGPU: 22 minutes and 57 seconds

Test 4:
– Edit page cache – enabled Smart User Cache at ProResHQ
a. Without eGPU: 17 minutes and 28 seconds
b. With BMD eGPU: 12 minutes and 22 seconds

Adobe Premiere Pro v.12.1.2
I performed similar testing in Adobe Premiere Pro using a 10-minute timeline at 23.98fps, 3840×2160, 4K and 8K RAW Red footage (R3D files) and Alexa (DNxHR SQ 8-bit) UHD footage, all with Effect Control tab resizes and simple Lumetri color correction, including sharpening and intermittent denoise (16) under the HSL Secondary tab in Lumetri applied to shadows only.

In order to ensure your eGPU will be used inside of Adobe Premiere, you must use Metal as your encoder. To enable it go to File > Project Settings > General and change the renderer to Mercury Playback Engine GPU acceleration Metal — (OpenCL will only use the internal GPU for processing.)

Premiere did not handle the high-resolution media as aptly as Resolve had, but it did help a little. However, I really wanted to test the export power with the added eGPU horsepower. I almost always send my Premiere sequences to Adobe Media Encoder to do the processing, so that is where my exports were processed.

Adobe Media Encoder
Test 1: H.264 (No render used during exports: 23.98/UHD, 80Mb/s, software encoding doesn’t allow for profile setup)
a. Open CL with no eGPU: about 140 minutes (sorry had to chase the kids around and couldn’t watch this snail crawl)
b. Metal no eGPU: about 137 minutes (chased the kids around again, and couldn’t watch this snail crawl, either)
c. Open CL with eGPU: wont work, Metal only
d. Metal with eGPU: one hour

Test 2: H.265
a. Without eGPU: failed (interesting result)
b. With eGPU: 40 minutes

Test 3: ProRes4444
a. Without eGPU: three hours
b. With eGPU: one hour and 14 minutes

FCP X
FCP X is an interesting editing app, and it is blazing fast at handling ProRes media. As I mentioned earlier, it hasn’t been in my world too much, but that isn’t because I don’t like it. It’s because professionally I haven’t run into it. I love the idea of roles, and would really love to see that playout in other NLEs. However, my results speak for themselves.

One caveat to using the eGPU in FCP X is that you must force it to work inside of the NLE. At first, I couldn’t get it to work. The Activity Monitor would show no activity on the eGPU. However, thanks to a Twitter post, James Wells (@9voltDC) sent me to this, which allows you to force FCP X to use the eGPU. It took a few tries but I did get it to work, and funny enough I saw times when all three GPUs were being used inside of FCP X, which was pretty good to see. This is one of those use-at-your-own risk things, but it worked for me and is pretty slick… if you are ok with using Terminal commands. This also allows you to force the eGPU onto other apps like Cinebench.

Anyways here are my results with the BMD eGPU exporting from FCP X:

Test 1: H.264
a. Without eGPU: eight minutes
b. With eGPU: eight minutes and 30 seconds

Test 2: H.265: Not an option

Test 3: ProRes4444
a. Without eGPU: nine minutes
b. With eGPU: six minutes and 30 seconds

Summing Up
In the end, the Blackmagic eGPU with Radeon Pro 580 GPU is a must buy if you use your MacBook Pro with Resolve 15. There are other options out there though, like the Razer Core v2 or the Akitio Node Pro.

From this review I can tell you that the Blackmagic eGPU is silent even when processing 8K Red RAW footage (even when the MacBook Pro fans are going at full speed), and it just works. Plug it in and you are running, no settings, no drivers, no cards to install… it just runs. And sometimes when I have three little boys running around my house, I just want that peace of mind and I want things to just work like the Blackmagic eGPU.


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.

Adobe updates Creative Cloud

By Brady Betzel

You know it’s almost fall when when pumpkin spice lattes are  back and Adobe announces its annual updates. At this year’s IBC, Adobe had a variety of updates to its Creative Cloud line of apps. From more info on their new editing platform Project Rush to the addition of Characterizer to Character Animator — there are a lot of updates so I’m going to focus on a select few that I think really stand out.

Project Rush

I use Adobe Premiere quite a lot these days; it’s quick and relatively easy to use and will work with pretty much every codec in the universe. In addition, the Dynamic Link between Adobe Premiere Pro and Adobe After Effects is an indispensible feature in my world.

With the 2018 fall updates, Adobe Premiere will be closer to a color tool like Blackmagic’s Resolve with the addition of new hue saturation curves in the Lumetri Color toolset. In Resolve these are some of the most important aspects of the color corrector, and I think that will be the same for Premiere. From Hue vs. Sat, which can help isolate a specific color and desaturate it to Hue vs. Luma, which can help add or subtract brightness values from specific hues and hue ranges — these new color correcting tools further Premiere’s venture into true professional color correction. These new curves will also be available inside of After Effects.

After Effects features many updates, but my favorites are the ability to access depth matte data of 3D elements and the addition of the new JavaScript engine for building expressions.

There is one update that runs across both Premiere and After Effects that seems to be a sleeper update. The improvements to motion graphics templates, if implemented correctly, could be a time and creativity saver for both artists and editors.

AI
Adobe, like many other companies, seem to be diving heavily into the “AI” pool, which is amazing, but… with great power comes great responsibility. While I feel this way and realize others might not, sometimes I don’t want all the work done for me. With new features like Auto Lip Sync and Color Match, editors and creators of all kinds should not lose the forest for the trees. I’m not telling people to ignore these features, but asking that they put a few minutes into discovering how the color of a shot was matched, so you can fix something if it goes wrong. You don’t want to be the editor who says, “Premiere did it” and not have a great solution to fix something when it goes wrong.

What Else?
I would love to see Adobe take a stab at digging up the bones of SpeedGrade and integrating that into the Premiere Pro world as a new tab. Call it Lumetri Grade, or whatever? A page with a more traditional colorist layout and clip organization would go a long way.

In the end, there are plenty of other updates to Adobe’s 2018 Creative Cloud apps, and you can read their blog to find out about other updates.

LACPUG hosting FCP and Premiere creator Randy Ubillos

The Los Angeles Creative Pro User Group (LACPUG) is celebrating its 18th anniversary on June 27 by presenting the official debut of Bradley Olsen’s Off the Tracks, a documentary about Final Cut Pro X. Also on the night’s agenda is a trip down memory lane with Randy Ubillos, the creator of Final Cut Pro, Adobe Premiere, Aperture, iMovie 08 and Final Cut Pro X.

The event will take place at the Gallery Theater in Hollywood. Start time is 6:45pm. Scheduled to be in the audience and perhaps on stage, depending on availability, will be members of the original FCP team: Michael Wohl, Tim Serda and Paul Saccone. Also on hand will be Ramy Katrib of DigitalFilm Tree and editor and digital consultant Dan Fort. “Many other invites to the ‘superstars’ of the digital revolution and FCP have been sent out,” says Michael Horton, founder and head of LACPUG.

The night will also include food and drinks, time for questions and the group’s “World Famous Raffle.”
Tickets are on sale now on the LACPUG website for $10 each, plus a ticket fee of $2.24.

The Los Angeles Creative Pro User Group, formerly the LA Final Cut Pro User Group, was established in June of 2000 and hosts a membership of over 6,000 worldwide.

Review: The PNY PrevailPro mobile workstation

By Mike McCarthy

PNY, a company best known in the media and entertainment industry as the manufacturer of Nvidia’s Quadro line of professional graphics cards, is now offering a powerful mobile workstation. While PNY makes a variety of other products, mostly centered around memory and graphics cards, the PrevailPro is their first move into offering complete systems.

Let’s take a look at what’s inside. The PrevailPro is based on Intel’s 7th generation Core i7 7700HQ Quad-Core Hyperthreaded CPU, running at 2.8-3.8GHz. It has an HM175 chipset and 32GB of dual-channel DDR4 RAM. At less than ¾-inch thick and 4.8 pounds, it also has an SD card slot, fingerprint reader, five USB ports, Gigabit Ethernet, Intel 8265 WiFi, and audio I/O. It might not be the lightest 15-inch laptop, but it is one of the most powerful. At 107 cubic inches, it has half the volume of my 17-inch Lenovo P71.

The model I am reviewing is their top option, with a 512GB NVMe SSD, as well as a 2TB HDD for storage. The display is a 15.6-inch UHD panel, driven by the headline feature, a Quadro P4000 GPU in Max-Q configuration. With 1792 CUDA cores, and 8GB of GDDR memory, the GPU retains 80% of the power of the desktop version of the P4000, at 4.4 TFlops. Someone I showed the system to joked that it was a PNY Quadro graphics card with a screen, which isn’t necessarily inaccurate. The Nvidia Pascal-based Quadro P4000 Max-Q GPU is the key unique feature of the product, being the only system I am aware of in its class — 15-inch workstations — with that much graphics horsepower.

Display Connectivity
This top-end PrevailPro system is ProVR certified by Nvidia and comes with a full complement of ports, offering more display options than any other system its size. It can drive three external 4K displays plus its attached UHD panel, an 8K monitor at 60Hz or anything in between. I originally requested to review this unit when it was announced last fall because I was working on a number of Barco Escape three-screen cinema projects. The system’s set of display outputs would allow me to natively drive the three TVs or projectors required for live editing and playback at a theater, without having to lug my full-sized workstation to the site. This is less of an issue now that the Escape format has been discontinued, but there are many other applications that involve multi-screen content creation, usually related to advertising as opposed to cinema.

I had also been looking for a more portable device to drive my 8K monitor — I wanted to do some on-set tests, reviewing footage from 8K cameras, without dragging my 50-pound workstation around with me — even my 17-inch P71 didn’t support it. Its DisplayPort connection is limited to Version 1.2, due to being attached to the Intel side of the hybrid graphics system. Dell’s Precision mobile workstations can drive their 8K display at 30Hz, but none of the other major manufacturers have implemented DisplayPort 1.3, favoring the power savings of using Intel’s 1.2 port in the chipset. The PrevailPro by comparison has dual mini-DisplayPort 01.3 ports, connected directly to the Nvidia GPU, which can be used together to drive an 8K monitor at 60Hz for the ultimate high-res viewing experience. It also has an HDMI 2.0 port supporting 4Kp60 with HDCP to connect your 4K TV.

It can connect three external displays, or a fourth with MST if you turn off the integrated panel. The one feature that is missing is Thunderbolt, which may be related to the DisplayPort issue. (Thunderbolt 3 was officially limited to DisplayPort 1.2) This doesn’t affect me personally, and USB 3.1 has much of the same functionality, but it will be an issue for many users in the M&E space — it limits its flexibility.

User Experience
The integrated display is a UHD LCD panel with a matte finish. It seems middle of the line. There is nothing wrong with it, and it appears to be accurate, but it doesn’t really pop the way some nicer displays do, possibly due to the blacks not being as dark as they could be.

The audio performance is not too impressive either. The speaker located at the top of the keyboard aren’t very loud, even at maximum volume, and they occasionally crackle a bit. This is probably the system’s most serious deficiency, although a decent pair of headphones can improve that experience significantly. The keyboard is well laid out, and felt natural to use, and the trackpad worked great for me. Switching between laptops frequently, I sometimes have difficulty adjusting to changes in the function and arrow key positioning, but everything was where my fingers expected them to be.

Performance wise, I am not comparing it to other 15-inch laptops, because I don’t have any to test it against, and that is not the point of this article. The users who need this kind of performance have previously been limited to 17-inch systems, and this one might allow them to lighten their load — more portable without sacrificing much performance. I will be comparing it to my 17-inch and 13-inch laptops, for context, as well as my 20-core Dell workstation.

Storage Performance
First off, with synthetic benchmarks, the SSD reports 1400MB/s write and 2000MB/s read performance, but the write is throttled to half of that over sustained periods. This is slower than some new SSDs, but probably sufficient because without Thunderbolt there is no way to feed the system data any faster than that. (USB 3.1 tops out around 800MB/s in the real world.)

The read speed allowed me to playback 6K DPX files in Adobe Premiere, and that is nothing to scoff at. The HDD tops out at 125MB/s as should be expected for a 2.5-inch SATA drive, so it will perform just like any other system. The spinning disk seems out of place in a device like this, where a second M.2 slot would have allowed the same capacity, at higher speeds, with size and power savings.

Here are its Cinebench scores, compared to my other systems:
System OpenGL CPU
PNY PrevailPro (P4000) 109.94 738
Lenovo P71 (P5000) 153.34 859
Dell 7910 Desktop (P6000) 179.98 3060Aorus X3 Plus (GF870) 47.00 520

The P4000 is a VR-certified solution, so I hooked up my Lenovo Explorer HMD and tried editing some 360 video in Premiere Pro 12.1. Everything works as expected, and I was able to get my GoPro Fusion footage to play back 3Kp60 at full resolution, and 5Kp30 at half resolution. Playing back exported clips in WMR worked in full resolution, even at 5K.

8K Playback
One of the unique features of this system is its support for an 8K display. Now, that makes for an awfully nice UI monitor, but most people buying it to drive an 8K display will probably want to view 8K content on it. To that end, 8K playback was one of the first things I tested. Within Premiere, DNxHR-LB files were the only ones I could get to play without dropping frames at full resolution, and even then only when they were scope aspect ratio. The fewer pixels to process due to the letterboxing works in its favor. All of the other options wouldn’t playback at full resolution, which defeats the purpose of an 8K display. The Windows 10 media player did playback 8K HEVC files at full resolution without issue, due to the hardware decoder on the Quadro GPU, which explicitly supports 8K playback. So that is probably the best way to experience 8K media on a system like this.

Now obviously 8K is pushing our luck with a laptop in the first place. My 6K Red files play back at quarter res, and most of my other 4K and 6K test assets play smoothly. I rendered a complex 5K comp in Adobe After Effects, and at 28 minutes, it was four minutes slower than my larger 17-inch system, and twice as fast as my 13-inch gaming notebook. Encoding a 10-minute file in DCP-O-Matic took 47 minutes in 2K, and 189 minutes in 4K, which is 15% slower than my 17-inch laptop.

Conclusion
The new 15-inch PrevailPro is not as fast as my huge 17-inch P71, as to be expected, but it is close in most tests, and many users would never notice the difference. It supports 8K monitors and takes up half the space in my bag. It blows my 13-inch gaming notebook out of the water and does many media tasks just as fast as my desktop workstation. It seems like an ideal choice for a power user who needs strong graphics performance but doesn’t want to lug around a 17-inch monster of a system.

The steps to improve it would be the addition of Thunderbolt support, better speakers, and an upgrade to Intel’s new 8th Gen CPUs. If I was still working on multi-screen theatrical projects, this would be the perfect system for taking my projects with me — same if I was working in VR more. I believe the configuration I tested has an MSRP of $4,500, but I find it online for around $4100. So it is clearly not the cheap option, but it is one of the most powerful 15-inch laptops available, especially if your processing needs are GPU intense. It is a well-balanced solution, for demanding users who need performance, but want to limit size and weight.

Update-September 27, 2018
I have had the opportunity to use the PrevailPro as my primary workstation while on the road for the last three months, and I have been very happy with the performance. The Wi-Fi range and battery life are significantly better than my previous system, although I wouldn’t bank on more than two hours of serious media editing work before needing to plug in.

I was able to process 7K R3D test shoot files for my next project in Adobe Media Encoder, and it converts them in full quality at around a quarter of realtime, so four minutes to convert one minute of footage, which is fast enough for my mobile needs. (So it could theoretically export six hours of dailies per day, but I wouldn’t usually recommend using a laptop for that kind of processing.) It renders my edited 5K project assets to H.264 faster than realtime, and the UHD screen has been great for all of my Photoshop work.


Mike McCarthy is an online editor/workflow consultant with 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.

NAB: Adobe’s spring updates for Creative Cloud

By Brady Betzel

Adobe has had a tradition of releasing Creative Cloud updates prior to NAB, and this year is no different. The company has been focused on improving existing workflows and adding new features, some based on Adobe’s Sensei technology, as well as improved VR enhancements.

In this release, Adobe has announced a handful of Premiere Pro CC updates. While I personally don’t think that they are game changing, many users will appreciate the direction Adobe is going. If you are color correcting, Adobe has added the Shot Match function that allows you to match color between two shots. Powered by Adobe’s Sensei technology, Shot Match analyzes one image and tries to apply the same look to another image. Included in this update is the long-requested split screen to compare before and after color corrections.

Motion graphic templates have been improved with new adjustments like 2D position, rotation and scale. Automatic audio ducking has been included in this release as well. You can find this feature in the Essential Sound panel, and once applied it will essentially dip the music in your scene based on dialogue waveforms that you identify.

Still inside of Adobe Premiere Pro CC, but also applicable in After Effects, is Adobe’s enhanced Immersive Environment. This update is for people who use VR headsets to edit and or process VFX. Team Project workflows have been updated with better version tracking and indicators of who is using bins and sequences in realtime.

New Timecode Panel
Overall, while these updates are helpful, none are barn burners, the thing that does have me excited is the new Timecode Panel — it’s the biggest new update to the Premiere Pro CC app. For years now, editors have been clamoring for more than just one timecode view. You can view sequence timecodes, source media timecodes from the clips on the different video layers in your timeline, and you can even view the same sequence timecode in a different frame rate (great for editing those 23.98 shows to a 29.97/59.94 clock!). And one of my unexpected favorites is the clip name in the timecode window.

I was testing this feature in a pre-release version of Premiere Pro, and it was a little wonky. First, I couldn’t dock the timecode window. While I could add lines and access the different menus, my changes wouldn’t apply to the row I had selected. In addition, I could only right click and try to change the first row of contents, but it would choose a random row to change. I am assuming the final release has this all fixed. If it the wonkiness gets flushed out, this is a phenomenal (and necessary) addition to Premiere Pro.

Codecs, Master Property, Puppet Tool, more
There have been some compatible codec updates, specifically Raw Sony X-OCN (Venice), Canon Cinema Raw Light (C200) and Red IPP2.

After Effects CC has also been updated with Master Property controls. Adobe said it best during their announcement: “Add layer properties, such as position, color or text, in the Essential Graphics panel and control them in the parent composition’s timeline. Use Master Property to push individual values to all versions of the composition or pull selected changes back to the master.”

The Puppet Tool has been given some love with a new Advanced Puppet Engine, giving access to improving mesh and starch workflows to animate static objects. Beyond updates to Add Grain, Remove Grain and Match Grain effects, making them multi-threaded, enhanced disk caching and project management improvements have been added.

My favorite update for After Effects CC is the addition of data-driven graphics. You can drop a CSV or JSON data file and pick-whip data to layer properties to control them. In addition, you can drag and drop data right onto your comp to use the actual numerical value. Data-driven graphics is a definite game changer for After Effects.

Audition
While Adobe Audition is an audio mixing application, it has some updates that will directly help anyone looking to mix their edit in Audition. In the past, to get audio to a mixing program like Audition, Pro Tools or Fairlight you would have to export an AAF (or if you are old like me possibly an OMF). In the latest Audition update you can simply open your Premiere Pro projects directly into Audition, re-link video and audio and begin mixing.

I asked Adobe whether you could go back and forth between Audition and Premiere, but it seems like it is a one-way trip. They must be expecting you to export individual audio stems once done in Audition for final output. In the future, I would love to see back and forth capabilities between apps like Premiere Pro and Audition, much like the Fairlight tab in Blackmagic’s Resolve. There are some other updates like larger tracks and under-the-hood updates which you can find more info about on: https://theblog.adobe.com/creative-cloud/.

Adobe Character Animator has some cool updates like overall character building updates, but I am not too involved with Character Animator so you should definitely read about things like the Trigger Improvements on their blog.

Summing Up
In the end, it is great to see Adobe moving forward on updates to its Creative Cloud video offerings. Data-driven animation inside of After Effects is a game-changer. Shot color matching in Premiere Pro is a nice step toward a professional color correction application. Importing Premiere Pro projects directly into Audition is definitely a workflow improvement.

I do have a wishlist though: I would love for Premiere Pro to concentrate on tried-and-true solutions before adding fancy updates like audio ducking. For example, I often hear people complain about how hard it is to export a QuickTime out of Premiere with either stereo or mono/discrete tracks. You need to set up the sequence correctly from the jump, adjust the pan on the tracks, as well as adjust the audio settings and export settings. Doesn’t sound streamlined to me.

In addition, while shot color matching is great, let’s get an Adobe SpeedGrade-style view tab into Premiere Pro so it works like a professional color correction app… maybe Lumetri Pro? I know if the color correction setup was improved I would be way more apt to stay inside of Premiere Pro to finish something instead of going to an app like Resolve.

Finally, consolidating and transcoding used clips with handles is hit or miss inside of Premiere Pro. Can we get a rock-solid consolidate and transcode feature inside of Premiere Pro? Regardless of some of the few negatives, Premiere Pro is an industry staple and it works very well.

Check out Adobe’s NAB 2018 update video playlist for details on each and every update.


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.