Tag Archives: Brady Betzel

Tips for inside —and outside — the edit suite

By Brady Betzel

Over the past 15 years, I’ve seen lots of good and bad while working in production and post — from people being overly technical (only looking at the scopes and not the creative) to being difficult just for the sake of being difficult. I’ve worked on daytime and nighttime talk shows, comedies, reality television, Christmas parades, documentaries and more. All have shaped my editing skills as well as my view on the work-life balance.

Here are some tips I try to keep in mind that have helped me get past problems I’ve encountered in and out of the edit bay:

No One Cares
This one is something I constantly have to remind myself. It’s not necessarily true all the time, but it’s a good way to keep my own ego in check, especially on social media. When editing and coloring, I constantly ask myself, “Does anyone care about what I’m doing? If not, why not?” And if the answer is that they don’t, then something needs to change. I also ask myself, “Does anything about my comment or edit further the conversation or the story, or am I taking away from the story to draw attention to myself?” In other words, am I making an edit just to make an edit?

It’s an especially good thing to think about when you get trolled on Twitter by negative know-it-alls telling you why you’re wrong about working in certain NLEs. Really, who cares? After I write my response and edit it a bunch of times, I tell myself, “No one cares.” This philosophy not only saves me from feeling bad about not answering questions that no one really cares about, but it also helps improve my editing, VFX and color correction work.

Don’t be Difficult!
As someone who has worked everywhere and in all sorts of positions — from a computer tech at Best Buy (before Geek Squad), a barista at Starbucks, a post PA for the Academy Awards, and assistant editor, editor, offline editor, online editor — I’ve seen the power of being amenable.

I am also innately a very organized person, both at work and at home, digitally and in real life — sometimes to my wife’s dismay. I also constantly repeat this mantra to my kids: “If you’re not early, you’re late.”

But sometimes I need to be reminded that it’s OK to be late, and it’s OK not to do things the technically “correct” way. The same applies to work. Someone might have a different way of doing something that’s slower than the way I’d do it, but that doesn’t mean that person is wrong. Avoiding confrontation is the best way to go. Sure, go ahead and transcode inside of Adobe Premiere Pro instead of batch transcoding in Media Encoder. If the outcome is the same and it helps avoid a fight, just let it slide. You might also learn something new by taking a back seat.

Sometimes Being Technically Perfect Isn’t Perfect
I often feel like I have a few obsessive traits: leaving on time, having a tidy desktop and doing things (I feel) correctly. One of the biggest examples is when color correcting. It is true that scopes don’t lie; they give you the honest truth. But when I hear about colorists bragging that they turn off the monitors and color using only Tektronix Double Diamond displays, waveforms and vectorscopes — my skeptical hippo eyes come out. (Google it; it’s a thing).

While scopes might get you to a technically acceptable spot in color correction, you need to have an objective view from a properly calibrated monitor. Sometimes an image with perfectly white whites and perfectly black blacks is not the most visually pleasing image. I constantly need to remind myself to take a step back and really blend the technical with the creative. That is, I sit back and imagine myself as the wide-eyed 16-year-old in the movie theater being blown away and intrigued by American Beauty.

You shouldn’t do things just because you think that is how they should be done. Take a step back and ask yourself if you, your wife, brother, uncle, mom, dad, or whoever else might like it.

Obviously, being technically correct is vital when creating things like deliverables, and that is where there might be less objectivity, but I think you understand my point. Remember to add a little objectivity into your life.

Live for Yourself, Practice and Repeat
While I constantly tell people to watch tutorials on YouTube and places like MZed.com, you also need to physically practice your craft. This idea becomes obvious when working in technically creative positions like editing.

I love watching tutorials on lighting and photography since so much can be translated over to editing and color correcting. Understanding relationships between light and motion can help guide scenes. But if all you do is watch someone tell you how light works, you might not really be absorbing the information. Putting into practice the concepts you learn is a basic but vital skill that is easy to forget. Don’t just watch other people live life, live it for yourself.

For example, a lot of people don’t understand trimming and re-linking in Media Composer. They hear about it but don’t really use these skills to their fullest unless they actively work them out. Same goes for people wanting to use a Wacom tablet instead of a mouse. It took me two weeks of putting my mouse in the closet to even get started on the Wacom tablet, but in the end, it is one of those things I can’t live without. But I had to make the choice to try it for myself and practice, practice, practice to know it.

If you dabble and watch videos on a Wacom tablet, using it once might turn you off. Using trimming once might not convince you it is great. Using roles in FCPX once might not convince you that it is necessary. Putting those skills into practice is how you will live editing life for yourself and discover what is important to you … instead of relying on other people to tell you what’s important.

Put Your Best Foot Forward
This bit of advice came to me from a senior editor on my first real professional editing job after being an assistant editor. I had submitted a rough cut and — in a very kind manner — the editor told me that it wasn’t close to ready for a rough cut title. Then we went through how I could get there. In the end, I essentially needed to spend a lot more time polishing the audio, checking for lip flap, polishing transitions and much more. Not just any time, but focused time.

Check your edit from a 30,000-foot view for things like story and continuity, but also those 10-foot view things like audio pops and interviews that sound like they are all from one take. Do all your music cues sting on the right beat? Is all your music panned for stereo and your dialogue all center-panned to cut up the middle?

These are things that take time to learn, but once you get it in your head, it will be impossible to forget … if you really want to be a good editor. Some might read this and say, “If you don’t know these workflows, you shouldn’t be an editor.” Not true! Everyone starts somewhere, but regardless of what career stage you’re in, always put your best foot forward.

Trust Your Instincts
I have always had confidence in my instincts, and I have my parents to thank for that. But I have noticed that a lot of up-and-coming production and post workers don’t want to make decisions. They also are very unsure if they should trust their first instinct. In my experience, your first instinct is usually your best instinct. Especially when editing.

Obviously there are exceptions to this rule, but generally I rely heavily on my instincts even when others might not agree. Take this with a grain of salt, but also throw that salt away and dive head first!

This notion really came to a head for me when I was designing show titles in After Effects. The producers really encouraged going above and beyond when making opening titles of a show I worked on. I decided to go into After Effects instead of staying inside of the NLE. I used crazy compositing options that I didn’t often use, tried different light leaks, inverted mattes … everything. Once I started to like something, I would jump in head first and go all the way. Usually that worked out, but even if it didn’t, everyone could see the quality of work I was putting out, and that was mainly because I trusted my instincts.

Delete and Start Over
When you are done trusting your instincts and your project just isn’t hitting home — maybe the story doesn’t quite connect, the HUD you are designing just doesn’t quite punch or the music you chose for a scene is very distracting — throw it all away and start over. One of the biggest skills I have acquired in my career thus far seems to be the ability to throw a project away and start over.

Typically, scenes can go on and on with notes, but if you’re getting nowhere, it might be time to start over if you can. Not only will you have a fresh perspective, but you will have a more intimate knowledge of the content than you had the first time you started your edit — which might lead to an alternate pathway into your story.


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: Red Giant’s VFX Suite plugins

By Brady Betzel

If you have ever watched After Effects tutorials, you are bound to have seen the people who make up Red Giant. There is Aharon Rabinowitz, who you might mistake for a professional voiceover talent; Seth Worley, who can combine a pithy sense of humor and over-the-top creativity seamlessly; and my latest man-crush Daniel Hashimoto, better known as “Action Movie Dad” of Action Movie Kid.

In these videos, these talented pros show off some amazing things they created using Red Giant’s plugin offerings, such as the Trapcode Suite, the Magic Bullet Suite, Universe and others.

Now, Red Giant is trying to improve your visual effects workflow even further with the new VFX Suite for Adobe After Effects (although some work in Adobe Premiere as well).

The new VFX Suite is a compositing focused toolkit that will complement many aspects of your work, from green screen keying to motion graphics compositing with tools such as Video Copilot’s Element 3D. Whether you want to seamlessly composite light and atmospheric fog with fewer pre-composites, add a reflection to an object easily or even just have a better greenscreen keyer, the VFX Suite will help.

The VFX Suite includes Supercomp, Primatte Keyer 6, King Pin Tracker, Spot Clone Tracker, Optical Glow; Chromatic Displacement, Knoll Light Factory 3.1, Shadow and Reflection. The VFX Suite is priced at $999 unless you qualify for the academic discount, which means you can get it for $499.

In this review, I will go over each of the plugins within the VFX Suite. Up first will be Primatte Keyer 6.

Overall, I love Red Giant’s GUIs. They seem to be a little more intuitive, allowing me to work more “creatively” as opposed to spending time figuring out technical issues.

I asked Red Giant what makes VFX Suite so powerful and Rabinowitz, head of marketing for Red Giant and general post production wizard, shared this: “Red Giant has been helping VFX artists solve compositing challenges for over 15 years. For VFX suite, we looked at those challenges with fresh eyes and built new tools to solve them with new technologies. Most of these tools are built entirely from scratch. In the case of Primatte Keyer, we further enhanced the UI and sped it up dramatically with GPU acceleration. Primatte Keyer 6 becomes even more powerful when you combine the keying results with Supercomp, which quickly turns your keyed footage into beautifully comped footage.”

Primatte Keyer 6
Primatte is a chromakey/single-color keying technology used in tons of movies and television shows. I got familiar with Primatte when BorisFX included it in its Continuum suite of plugins. Once I used Primatte and learned the intricacies of extracting detail from hair and even just using their auto-analyze function, I never looked back. On occasion, Primatte needs a little help from others, like Keylight, but I can usually pull easy and tough keys all within one or two instances of Primatte.

If you haven’t used Primatte before, you essentially pick your key color by drawing a line or rectangle around the color, adjust the detail and opacity of the matte, and — boom — you’re done. With Primatte 6 you now also get Core Matte, a new feature that draws an inside mask automatically while allowing you to refine the edges — this is a real time-saver when doing hundreds of interview greenscreen keys, especially when someone decides to wear a reflective necklace or piece of jewelry that usually requires an extra mask and tracking. Primatte 6 also adds GPU optimization, gaining even more preview and rendering speed than previous versions.

Supercomp
If you are an editor like me — who knows enough to be dangerous when compositing and working within After Effects — sometimes you just want (or need) a simpler interface without having to figure out all the expressions, layer order, effects and compositing modes to get something to look right. And if you are an Avid Media Composer user, you might have encountered the Paint Effect Tool, which is one of those one-for-all plugins. You can paint, sharpen, blur and much more from inside one tool, much like Supercomp. Think of the Supercomp interface as a Colorista or Magic Bullet Looks-type interface, where you can work with composite effects such as fog, glow, lights, matte chokers, edge blend and more inside of one interface with much less pre-composing.

The effects are all GPU-accelerated and are context-aware. Supercomp is a great tool to use with your results from the Primatte Keyer, adding in atmosphere and light wraps quickly and easily inside one plugin instead of multiple.

King Pin Tracker and Spot Clone Tracker
As an online editor, I am often tasked with sign replacements, paint-out of crew or cameras in shots, as well as other clean-ups. If I can’t accomplish what I want with BorisFX Continuum while using Mocha inside of Media Composer or Blackmagic’s DaVinci Resolve, I will jump over to After Effects and try my hand there. I don’t practice as much corner pinning as I would like, so I often forget the intricacies when tracking in Mocha and copying Corner Pin or Transform Data to After Effects. This is where the new King Pin Tracker can ease any difficulties, especially when performing corner pinning on relatively simple objects but still need to keyframe positions or perform a planar track without using multiple plugins or applications.

The Spot Clone Tracker is exactly what is says it is. Much like Resolve’s Patch Replace, Spot Clone Tracker allows you to track one area while replacing that same area with another area from the screen. In addition, Spot Clone Tracker has options to flip vertical, flip horizontal, add noise, and adjust brightness and color values. For such a seemingly simple tool, the Spot Clone Tracker is the darkhorse in this race. You’d be surprised how many clone and paint tools don’t have adjustments, like flipping and flopping or brightness changes. This is a great tool for quick dead-pixel fixes and painting out GoPros when you don’t need to mask anything out. (Although there is an option to “Respect Alpha.”)

Optical Glow and Knoll Light Factory 3.1
Have you ever been in an editing session that needed police lights amplified or a nice glow on some text but the stock plugins just couldn’t get it right? Optical Glow will solve this problem. In another amazing, simple-yet-powerful Red Giant plugin, Optical Glow can be applied and gamma-adjusted for video, log and linear levels right off the bat.

From there you can pick an inner tint, outer tint and overall glow color via the Colorize tool and set the vibrance. I really love the Falloff, Highlight Rolloff, and Highlights Only functions, which allow you to fine-tune the glow and just how much it shows what it affects. It’s so simple that it is hard to mess up, but the results speak for themselves and render out quicker than with other glow plugins I am using.

Knoll Light Factory has been newly GPU-accelerated in Version 3.1 to decrease render times when using its more than 200 presets or when customizing your own lens flares. Optical Glow and Knoll Light Factory really complement each other.

Chromatic Displacement
Since watching an Andrew Kramer tutorial covering displacement, I’ve always wanted to make a video that showed huge seismic blasts but didn’t really want to put the time into properly making chromatic displacement. Lucky for me, Red Giant has introduced Chromatic Displacement! Whether you want to make rain drops appear on the camera lens or add a seismic blast from a phaser, Chromatic Displacement will allow you to offset your background with a glass-, mirror- or even heatwave-like appearance quickly. Simply choose the layer you want to displace from and adjust parameters such as displacement amount, spread and spread chroma, and whether you want to render using the CPU or GPU.

Shadow and ReflectionRed Giant packs Shadow and Reflection plugins into the VFX Suite as well. The Shadow plugin not only makes it easy to create shadows in front of or behind an object based on alpha channel or brightness, but, best of all, it gives you an easy way to identify the point where the shadow should bend. The Shadow Bend option lets you identify where the bend exists, what color the bend axis should be, the type of seam and seam the size, and even allows for motion blur.

The Reflection plugin is very similar to the Shadow plugin and produces quick and awesome reflections without any After Effects wizardry. Just like Shadow, the Reflection plugin allows you to identify a bend. Plus, you can adjust the softness of the reflection quickly and easily.

Summing Up
In the end, Red Giant always delivers great and useful plugins. VFX Suite is no different, and the only downside some might point to is the cost. While $999 is expensive, if compositing is a large portion of your business, the efficiency you gain might outweigh the cost.

Much like Shooter Suite does for online editors, Trapcode Suite does for VFX masters and Universe does for jacks of all trades, VFX Suite will take all of your ideas and help them blend seamlessly into your work.


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: Polaroid 320 RGB LED light for controlled environments

By Brady Betzel

If you read a lot of reviews and articles like I do, sometimes you can get overwhelmed by how many products are out there. Lighting is one of those categories where the availability of products seems never ending. From ARRI Fresnels that can go for over $5,000 to the Kino Flo Diva-Lite at over $1,300, lights cover the entire spectrum of prices. But sometimes I don’t have the power, room or even money to buy these lights and need something cheaper — way cheaper. Portable lights like the Litra Torch are usually focused around tiny action-cam users are pretty great and go for around $100 but are tiny and may serve a better purpose such as a hair light or a tiny spot light. For those wanting a cheap but larger surface area, Polaroid has come to the rescue. For $99 you can buy the Polaroid RGB LED Light.

The Polaroid 320 RGB is a multi-color RGB LED light that runs off of a rechargeable Sony-style NP battery and can be controlled by an iOS or Android app via Bluetooth. The light also comes with a carrying case, a cold-shoe swivel head adapter to mount on top of a camera, a DC adapter with international adapters, a diffuser, battery and battery charger. The case itself is actually pretty nice — it will protect the light and hold all the accessories. I left the battery to charge overnight after I used the light so I can’t tell you exactly how long it took, but I can tell you it isn’t fast. Maybe a couple of hours. However, if you had a Sony camera from a long time ago you may have some leftover batteries you can use with the Polaroid light if you don’t have your DC adapter around.

The LED light is made up of 320 LED lamps: 144-3200K LEDS, 144-5600K LEDs and 32-RGB LEDs. The light can either be used in the RGB color mode or standard mode. To create the array of colors, Polaroid uses the 32 RGB LEDs to shine almost any color you can imagine. RGB lamps have three colors: red, green and blue, which can be turned off and on in multiple combinations to achieve almost any color. From cyan to magenta to yellow or purple, you can adjust the hue on the Polaroid RGB LED light by pushing the H/S button and turning the knob to the desired color. Oddly enough, it tells you which color you are on with a number between 0-199. I would think 360 would be the RGB designation since a color wheel is a circle.

If you hit the H/S button again you can access the saturation value of the light, which can be adjusted from 0-100. There is a Bluetooth light to tell you when the app is controlling the light… it will turn blue. Next to that is the Bat button, which will tell you how much power is left if using the battery. Underneath that is the Bri, or brightness, button and the Temp button. The Temp button is used when in the “white” mode to change color temperature values from 3200K-5600K, although the LED readout only displays three digits, so you won’t be getting the full Kelvin temperature read out.

But really the beauty of this light is using it through the Fi Light app you can find in both the App Store as well as the Google Play Store for Android. I have to admit, it was difficult finding the app in the Google Play Store, but if you look for the white lightbulb with blue background by “tek-q” you have the correct app. What’s even stranger is that to connect to the Polaroid light you don’t need to connect your Bluetooth to the light, the app will connect on its own. Something I couldn’t get through my head for some reason. But once the light is on and the app is up, start adjusting the hue, saturation and brightness, or even mess with the different modes like Rapid Rainbow Transition or Pulsating Red/Blue for a police light-type effect. While I couldn’t test more than one, there is a group settings dialogue that could presumably join forces of multiple lights to control them at once. The “Blu” light on the back of the light will light up, appropriately in blue when it is connected to your phone.

Summing Up
This light isn’t the strongest, especially when used in conjunction with the sunlight, but if you are photographing or filming products in a controlled environment like a garage, it will do just fine. Ideally, you would need two with a reflector, or three to light something. That being said, for $100 this Polaroid light may just fit your needs for product lighting, or even washing a wall with color behind an interview. It definitely won’t beat out any of the high-end LED lights, but it will do the job in a smaller space with controlled lighting. And because it can mount on a cold shoe of a camera it can even be a great run-and-gun light when working with subjects close to camera.

Check out www.polaroid.com for more products from Polaroid or on Amazon.com where you can search for this light and many more filmmaking-focused products from them.


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: CyberPower PC workstation with AMD Ryzen

By Brady Betzel

With the influx of end users searching for alternatives to Mac Pros, as well as new ways to purchase workstation-level computing solutions, there is no shortage of opinions on what brands to buy and who might build it. Everyone has a cousin or neighbor that builds systems, right?

I’ve often heard people say, “I’ve never built a system or used (insert brand name here), but I know they aren’t good.” We’ve all run into people who are dubious by nature. I’m not so cynical, and when it comes to operating and computer systems, I consider myself Switzerland.

When looking for the right computer system, the main question you should ask is, “What do you need to accomplish?” Followed by, “What might you want to accomplish in the future?” I’m a video editor and colorist, so I need the system I build to work fluidly with Avid Media Composer, Blackmagic DaVinci Resolve and Adobe’s Premiere and After Effects. I also want my system to work with Maxon Cinema 4D in case I want to go a little further than Video Copilot’s Element 3D and start modeling in Cinema 4D. My main focus is video editing and color correction but I also need flexibility for other tools.

Lately, I’ve been reaching out to companies in the hopes of testing as many custom-built Windows -based PCs as possible. There have been many Mac OS-to-Windows transplants over the past few years, so I know pros are eager for options. One of the latest seismic shifts have come from the guys over at Greyscalegorilla moving away from Mac to PCs. In particular, I saw that one of the main head honchos over there, Nick Campbell (@nickvegas), went for a build complete with the Ryzen Threadripper 32-core workhorse. You can see the lineup of systems here. This really made me reassess my thoughts on AMD being a workstation-level processor, and while not everyone can afford the latest Intel i9 or AMD Threadripper processors, there are lower-end processors that will do most people just fine. This is where the custom-built PC makers like CyberPower PC, who equip machines with AMD processors, come into play.

So why go with a company like CyberPowerPC? The prices for parts are usually competitive, and the entire build isn’t much more than if you purchased the parts by themselves. Also, you deal with CyberPower PC for Warranty issues and not individual companies for different parts.

My CustomBuild
In my testing of an AMD Ryzen 7 1700x-based system with a Samsung NVMe hard drive and 16GB of RAM, I was able to run all of the software I mentioned before. The best part was the price; the total was around, $1,000! Not bad for someone editing and color correcting. Typically those machines can run anywhere from $2,000 to $10,000. Although the parts in those more expensive systems are more complex and have double to triple the amount of cores, some of that is wasted. And when on a budget you will be hard-pressed to find a better deal than CyberPower PC. If you build a system yourself, you might get close but not far off.

While this particular build isn’t going to beat out the AMD Threadripper’s or Intel i9-based systems, the AMD Ryzen-based systems offer a decent bang for the buck. As I mentioned, I focus on video editing and color correcting so I tested a simple one-minute UHD (3840×2160) 23.98 H.264 export. Using Premiere along with Adobe’s Media Encoder, I used about :30 seconds of Red UHD footage as well as some UHD S-log3/s-gamut3 footage I shot on the Sony a7 III creating a one-minute long sequence.

I then exported it as an H.264 at a bitrate around 10Mb/s. With only a 1D LUT on the Sony a7iii footage, the one-minute sequence took one minute 13 seconds. With added 10% resizes and a “simple” Gaussian blur over all the clips, the sequence exported in one minute and four seconds. This is proof that the AMD GPU is working inside of Premiere and Media Encoder. Inside Premiere, I was able to playback the full-quality sequence on a second monitor without any discernible frames dropping.

So when people tell you AMD isn’t Intel, technically they are right, but overall the AMD systems are performing at a high enough level that for the money you are saving, it might be worth it. In the end, with the right expectations and dollars, an AMD-based system like this one is amazing.

Whether you like to build your own computer or just don’t want to buy a big-brand system, custom-built PCs are a definite way to go. I might be a little partial since I am comfortable opening up my system and changing parts around, but the newer cases allow for pretty easy adjustments. For instance, I installed a Blackmagic DeckLink and four SSD drives for a RAID-0 setup inside the box. Besides wishing for some more internal drive cages, I felt it was easy to find the cables and get into the wiring that CyberPowerPC had put together. And because CyberPowerPC is more in the market for gaming, there are plenty of RGB light options, including the memory!

I was kind of against the lighting since any color casts could throw off color correction, but it was actually kind of cool and made my setup look a little more modern. It actually kind of got my creativity going.

Check out the latest AMD Ryzen processors and exciting improvements to the Radeon line of graphics cards on www.cyberpowerpc.com and www.amd.com. And, hopefully, I can get my hands on a sweet AMD Ryzen Threadripper 2990WX with 32 cores and 64 threads to really burn a hole in my render power.


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 Symphony 2018 v.12

By Brady Betzel

In February of 2018, we saw a seismic shift in the leadership at Avid. Chief executive officer Louis Hernandez Jr. was removed and subsequently replaced by Jeff Rosica. Once Rosica was installed, I think everyone who was worried Avid was about to be liquidated to the highest bidder breathed a sigh of temporary relief. Still unsure whether new leadership was going to right a tilting ship, I immediately wanted to see a new action plan from Avid, specifically on where Media Composer and Symphony were going.

Media Composer with Symphony

Not long afterward, I was happily reading how Avid was taking lessons from its past transgressions and listening to its clients. I heard Avid was taking tours around the industry and listening to what customers and artists needed from them. Personally, I was asking myself if Media Composer with Symphony would ever be the finishing tool of Avid DS was. I’m happy to say, it’s starting to look that way.

It appears from the outside that Rosica is indeed the breath of fresh air Avid needed. At NAB 2019, Avid teased the next iteration of Media Composer, version 2019, with overhauled interface and improvements, such as a 32-bit float color pipeline workflow complete with ACES color management and a way to deliver IMF packages; a new engine with a distributed processing engine; and a whole new product called Media Composer|Enterprise, all of which will really help sell this new Media Composer. But the 2019 update is coming soon and until then I took a deep dive into Media Composer 2018 v12, which has many features editors, assistants, and even colorists have been asking for: a new Avid Titler, shape-based color correction (with Symphony option), new multicam features and more.

Titling
As an online editor who uses Avid Media Composer with Symphony option about 60% of the time, titling is always a tricky subject. Avid has gone through some rough seas when dealing with how to fix the leaky hole known as the Avid Title Tool. The classic Avid Title Tool was basic but worked. However, if you aligned something in the Title Tool interface to Title Safe zones, it might jump around once you close the Title Tool interface. Fonts wouldn’t always stay the same when working across PC and MacOS platforms. The list goes on, and it is excruciatingly annoying.

Titler

Let’s take a look at some Avid history: In 2002, Avid tried to appease creators and introduced the, at the time, a Windows-only titler: Avid Marquee. While Marquee was well-intentioned, it was extremely difficult to understand if you weren’t interested in 3D lighting, alignment and all sorts of motion graphics stuff that not all editors want to spend time learning. So, most people didn’t use it, and if they did it took a little while for anyone taking over the project to figure out what was done.

In December of 2014, Avid leaned on the New Blue Titler, which would work in projects higher than 1920×1080 resolution. Unfortunately, many editors ran into a very long render at the end, and a lot bailed on it. Most decided to go out of house and create titles in Adobe Photoshop and Adobe After Effects. While this all relates to my experience, I assume others feel the same.

In Avid Media Composer 2018, the company has introduced the Avid Titler, which in the Tools menu is labeled: Avid Titler +. It works like an effect rather than a rendered piece of media like in the traditional Avid Title Tool, where an Alpha and a Fill layer worked. This method is similar to how NewBlue or Marquee functioned. However, Avid Titler works by typing directly on the record monitor; adding a title is as easy as marking an in and out point and clicking on the T+ button on the timeline.

You can specify things like kerning, shadow, outlines, underlines, boxes, backgrounds and more. One thing I found peculiar was that under Face, the rotation settings rotate individual letters and not the entire word by default. I reached out to Avid and they are looking into making the entire word rotation option the default in the mini toolbar of Avid Titler. So stay tuned.

Also, you can map your fast forward and rewind buttons to “Go To Next/Previous Event.” This allows you to jump to your next edits in the timeline but also to the next/previous keyframes when in the Effect Editor. Typically, you click on the scrub line in the record window and then you can use those shortcuts to jump to the next keyframe. In the Avid Titler, it would just start typing in the text box. Furthermore, when I wanted to jump out of Effect Editor mode and back into Edit Mode, I usually hit “y,” but that did not get me out of Effects Mode (Avid did mention they are working on updates to the Avid Titler that would solve this issue). The new Avid Titler definitely has some bugs and/or improvements that are needed, and they are being addressed, but it’s a decent start toward a modern title editor.

Shape-based color correction

Color
If you want advanced color correction built into Media Composer, then you are going to want the Symphony option. Media Composer with the Symphony option allows for more detailed color correction using secondary color corrections as well as some of the newer updates, including shape-based color correction. Before Resolve and Baselight became more affordable, Symphony was the gold standard for color correction on a budget (and even not on a budget since it works so well in the same timeline the editors use). But what we are really here for is the 2018 v.12 update of Shapes.

With the Symphony option, you can now draw specific regions on the footage for your color correction to affect. It essentially works similarly to a layer-based system like Adobe Photoshop. You can draw shapes with the same familiar tools you are used to drawing with in the Paint or AniMatte tools and then just apply your brightness, saturation or hue swings in those areas only. On the color correction page you can access all of these tools on the right-hand side, including the softening, alpha view, serial mode and more.

When using the new shape-based tools you must point the drop-down menu to “CC Effect.” From there you can add a bunch of shapes on top of each other and they will play in realtime. If you want to lay a base correction down, you can specify it in the shape-based sidebar, then click shape and you can dial in the specific areas to your or your client’s taste. You can check off the “Serial Mode” box to have all corrections interact with one another or uncheck the box to allow for each color correction to be a little more isolated — a really great option to keep in mind when correcting. Unfortunately, tracking a shape can only be done in the Effect Editor, so you need to kind of jump out of color correction mode, track, and then go back. It’s not the end of the world, but it would be infinitely better if you could track efficiently inside of the color correction window. Avid could even take it further by allowing planar tracking by an app like Mocha Pro.

Shape-based color correction

The new shape-based corrector also has an alpha view mode identified by the infinity symbol. I love this! I often find myself making mattes in the Paint tool, but it can now be done right in the color correction tool. The Symphony option is an amazing addition to Media Composer if you need to go further than simple color correction but not dive into a full color correction app like Baselight or Resolve. In fact, for many projects you won’t need much more than what Symphony can do. Maybe a +10 on the contrast, +5 on the brightness and +120 on the saturation and BAM a finished masterpiece. Kind of kidding, but wait until you see it work.

Multicam
The final update I want to cover is multicam editing and improvements to editing group clips. I cannot emphasize enough how much time this would have saved me as an assistant editor back in the pre-historic Media Composer days… I mean we had dongles, and I even dabbled in the Meridian box. Literally days of grouping and regrouping could have been avoided with the Edit Group feature. But I did make a living fixing groups that were created incorrectly, so I guess this update is a Catch 22. Anyway, you can now edit groups in Media Composer by creating a group, right-clicking on that group and selecting Edit Group. From there, the group will now open in the Record Monitor as a sequence, and from there you can move, nudge and even add cameras to a previously created group. Once you are finished, you can update the group and refresh any sequences that used that group to update if you wish. One issue is that with mixed frame rate groups, Avid says committing to that sequence might produce undesirable effects.

Editing workspace

Cost of Entry
How much does Media Composer cost these days? While you can still buy it outright, it seems a bit more practical to go monthly since you will automatically get updates, but it can still be a little tricky. Do you need PhraseFind and/or ScriptSync? Do you need the Symphony option? Do you need to access shared storage? There are multiple options depending on your needs. If you want everything, then Media Composer Ultimate for $49 per month is what you want. If you want Media Composer and just one add-on, like Symphony, it will cost $19 per month plus $199 per year for the Symphony option. If you want to test the water before jumping in, you can always try Media Composer First.

For a good breakdown of the Media Composer pricing structure, check out KeyCode Media  page (a certified reseller). Another great link with tons of information organized into easily digestible bites is this. Additionally, www.freddylinks.com is a great resource chock full of everything else Avid, written by Avid technical support specialist Fredrik Liljeblad out of Sweden.

Group editing

Summing Up
In the end, I use and have used Media Composer with Symphony for over 15 years, and it is the most reliable nonlinear editor supporting multiple editors in a shared network environment that I have used. While Adobe Premiere Pro, Apple Final Cut Pro X and Blackmagic Resolve are offering fancy new features and collaboration modes, Avid seems to always hold stabile when I need it the most. These new improvements and a UI overhaul (set to debut in May), new leadership from Rosica, and the confidence of Rosica’s faithful employees all seem to be paying off and getting Avid back on the track they should have always been on.


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: Mzed.com’s Directing Color With Ollie Kenchington

By Brady Betzel

I am constantly looking to educate myself, no matter what the source — or subject. Whether I am learning how to make a transition in Adobe After Effects from an eSports editor on YouTube to Warren Eagles teaching color correction in Blackmagic’s DaVinci Resolve on FXPHD.com, I’m always beefing up my skills. I even learn from bad tutorials — they teach you what not to do!

But when you come across a truly remarkable learning experience, it is only fair to share with the rest of the world. Last year I saw an ad for an MZed.com course called “Directing Color With Ollie Kenchington,” and was immediately interested. These days you can pretty much find any technical tutorial you can dream of on YouTube, but truly professional, higher education-like, theory-based education series are very hard to come by. Even ones you need to pay for aren’t always worth their price of admission, which is a huge let down.

Ollie sharing his wisdom.

Once I gained access to MZed.com I wanted to watch every educational series they had. From lighting techniques with ASC member Shane Hurlbut to the ARRI Amira Camera Primer, there are over 150 hours of education available from industry leaders. However, I found my way to Directing Color…

I am often asked if I think people should go to college or a film school. My answer? If you have the money and time, you should go to college followed by film school (or do both together, if the college offers it). Not only will you learn a craft, but you will most likely spend hundreds of hours studying and visualizing the theory behind it. For example, when someone asks me about the science behind camera lenses, I can confidently answer them thanks to my physics class based on lenses and optics from California Lutheran University (yes, a shameless plug).

In my opinion, a two-, four- or even 10-year education allows me to live in the grey. I am comfortable arguing for both sides of a debate, as well as the options that are in between —  the grey. I feel like my post-high school education really allowed me to recognize and thrive in the nuances of debate. Leaving me to play devil’s advocate maybe a little too much, but also having civil and proactive discussions with others without being demeaning or nasty — something we are actively missing these days. So if living in the grey is for you, I really think a college education supplemented by online or film school education is valuable (assuming you make the decision that the debt is worth it like I did).

However, I know that is not an option for everyone since it can be very expensive — trust me, I know. I am almost done paying off my undergraduate fees while still paying off my graduate ones, which I am still two or three classes away from finishing. That being said, Directing Color With Ollie Kenchington is the only online education series I have seen so far that is on the same level as some of my higher education classes. Not only is the content beautifully shot and color corrected, but Ollie gives confident and accessible lessons on how color can be used to draw the viewer’s attention to multiple parts of the screen.

Ollie Kenchington is a UK-based filmmaker who runs Korro Films. From the trailer of his Directing Color series, you can immediately see the beauty of Ollie’s work and know that you will be in safe hands. (You can read more about his background here.)

The course raises the online education bar and will elevate the audiences idea of professional insight. The first module “Creating a Palette” covers the thoughts behind creating a color palette for a small catering company. You may even want to start with the last Bonus Module “Ox & Origin” to get a look at what Ollie will be creating throughout the seven modules and about an hour and a half of content.

While Ollie goes over “looks,” the beauty of this course is that he goes through his internal thought processes including deciding on palettes based on color theory. He didn’t just choose teal and orange because it looks good, he chooses his color palette based on complementary colors.

Throughout the course Ollie covers some technical knowledge, including calibrating monitors and cameras, white balancing and shooting color charts to avoid having wrong color balance in post. This is so important because if you don’t do these simple steps, your color correction session while be much harder. And wasting time on fixing incorrect color balance takes time away from the fun of color grading. All of this is done through easily digestible modules that range from two to 20 minutes.

The modules include Creating a Palette; Perceiving Color; Calibrating Color; Color Management; Deconstructing Color 1 – 3 and the Bonus Module Ox & Origin.

Without giving away the entire content in Ollie’s catalog, my favorite modules in this course are the on-set modules. Maybe because I am not on-set that often, but I found the “thinking out loud” about colors helpful. Knowing why reds represent blood, which raise your heart rate a little bit, is fascinating. He even goes through practical examples of color use in films such as in Whiplash.

In the final “Deconstructing Color” modules, Ollie goes into a color bay (complete with practical candle backlighting) and dives in Blackmagic’s DaVinci Resolve. He takes this course full circle to show how since he had to rush through a scene he can now go into Resolve and add some lighting to different sides of someone’s face since he took time to set up proper lighting on set, he can focus on other parts of his commercial.

Summing Up
I want to watch every tutorial MZed.com has to offer. From “Philip Bloom’s Cinematic Masterclass” to Ollie’s other course “Mastering Color.” Unfortunately, as of my review, you would have to pay an additional fee to watch the “Mastering Color” series. It seems like an unfortunate trend in online education to charge a fee and then when an extra special class comes up, charge more, but this class will supposedly be released to the standard subscribers in due time.

MZed.com has two subscription models: MZed Pro, which is $299 for one year of streaming the standard courses, and MZed Pro Premium for $399. This includes the standard courses for one year and the ability to choose one “Premium” course.

“Philip Bloom’s Cinematic Master Class” was the Premium course I was signed up for initially, but you you can decide between this one and the “Mastering Color” course. You will not be disappointed regardless of which one you choose. Even their first course “How to Photograph Everyone” is chock full of lighting and positioning instruction that can be applied in many aspects of videography.

I really was impressed with Directing Color with Ollie Kenchington, and if the other course are this good MZed.com will definitely become a permanent bookmark for me.


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: Red Giant’s Trapcode Suite 15

By Brady Betzel

We are now comfortably into 2019 and enjoying the Chinese Year of the Pig — or at least I am! So readers, you might remember that with each new year comes a Red Giant Trapcode Suite update. And Red Giant didn’t disappoint with Trapcode Suite 15.

Every year Red Giant adds more amazing features to its already amazing particle generator and emitter toolset, Trapcode Suite, and this year is no different. Trapcode Suite 15 is keeping tools like 3D Stroke, Shine, Starglow, Sound Keys, Lux, Tao, Echospace and Horizon while significantly updating Particular, Form and Mir.

I won’t be covering each plugin in this review but you can check out what each individual plugin does on the Red Giant’s website.

Particular 4
The bread and butter of the Trapcode Suite has always been Particular, and Version 4 continues to be a powerhouse. The biggest differences between using a true 3D app like Maxon’s Cinema 4D or Autodesk Maya and Adobe After Effects (besides being pseudo 3D) are features like true raytraced rendering and interacting particle systems with fluid dynamics. As I alluded to, After Effects isn’t technically a 3D app, but with plugins like Particular you can create pseudo-3D particle systems that can affect and be affected by different particle emitters in your scenes. Trapcode Suite 15 and, in particular (all the pun intended), Particular 4, have evolved to another level with the latest update to include Dynamic Fluids. Dynamic Fluids essentially allows particle systems that have the fluid-physics engine enabled to interact with one another as well as create mind-blowing liquid-like simulations inside of After Effects.

What’s even more impressive is that with the Particular Designer and over 335 presets, you don’t  need a master’s degree to make impressive motion graphics. While I love to work in After Effects, I don’t always have eight hours to make a fluidly dynamic particle system bounce off 3D text, or have two systems interact with each other for a text reveal. This is where Particular 4 really pays for itself. With a little research and tutorial watching, you will be up and rendering within 30 minutes.

When I was using Particular 4, I simply wanted to recreate the Dynamic Fluid interaction I had seen in one of their promos. Basically, two emitters crashing into each other in a viscus-like fluid, then interacting. While it isn’t necessarily easy, if you have a slightly above-beginner amount of After Effects knowledge you will be able to do this. Apply the Particular plugin to a new solid object and open up the Particular Designer in Effect Controls. From there you can designate emitter type, motion, particle type, particle shadowing, particle color and dispersion types, as well as add multiple instances of emitters, adjust physics and much more.

The presets for all of these options can be accessed by clicking the “>” symbol in the upper left of the Designer interface. You can access all of the detailed settings and building “Blocks” of each of these categories by clicking the “<” in the same area. With a few hours spent watching tutorials on YouTube, you can be up and running with particle emitters and fluid dynamics. The preset emitters are pretty amazing, including my favorite, the two-emitter fluid dynamic systems that interact with one another.

Form 4
The second plugin in the Trapcode Suite 15 that has been updated is Trapcode Form 4. Form is a plugin that literally creates forms using particles that live forever in a unified 3D space, allowing for interaction. Form 4 adds the updated Designer, which makes particle grids a little more accessible and easier to construct for non-experts. Form 4 also includes the latest Fluid Dynamics update that Particular gained. The Fluid Dynamics engine really adds another level of beauty to Form projects, allowing you to create fluid-like particle grids from the 150 included presets or even your own .obj files.

My favorite settings to tinker with are Swirl and Viscosity. Using both settings in tandem can help create an ooey-gooey liquid particle grid that can interact with other Form systems to build pretty incredible scenes. To test out how .obj models worked within form, I clicked over to www.sketchfab.com and downloaded an .obj 3D model. If you search for downloadable models that do not cost anything, you can use them in your projects under Creative Commons licensing protocols, as long as you credit the creator. When in doubt always read the licensing (You can find more info on creative commons licensing here, but in this case you can use them as great practice models.

Anyway, Form 4 allows us to import .obj files, including animated .obj sequences as well as their textures. I found a Day of the Dead-type skull created by JMUHIST, pointed form to the .obj as well as its included texture, added a couple After Effect’s lights, a camera, and I was in business. Form has a great replicator feature (much like Element3D). There are a ton of options, including fog distance under visibility, animation properties, and even the ability to quickly add a null object linked to your model for quick alignment of other elements in the scene.

Mir 3
Up last is Trapcode Mir 3. Mir 3 is used to create 3D terrains, objects and wireframes in After Effects. In this latest update, Mir has added the ability to import .obj models and textures. Using fractal displacement mapping, you can quickly create some amazing terrains. From mountain-like peaks to alien terrains, Mir is a great supplement when using plugins like Video Copilot Element 3D to add endless tunnels or terrains to your 3D scenes quickly and easily.

And if you don’t have or own Element 3D, you will really enjoy the particle replication system. Use one 3D object and duplicate, then twist, distort and animate multiple instances of them quickly. The best part about all of these Trapcode Suite tools is that they interact with the cameras and lighting native to After Effects, making it a unified animating experience (instead of animating separate camera and lighting rigs like in the old days). Two of my favorite features from the last update are the ability to use quad- or triangle-based polygons to texture your surfaces. This can give an 8-bit or low-poly feel quickly, as well as a second pass wireframe to add a grid-like surface to your terrain.

Summing Up
Red Giant’s Trapcode Suite 15 is amazing. If you have a previous version of the Trapcode Suite, you’re in luck: the upgrade is “only” $199. If you need to purchase the full suite, it will cost you $999. Students get a bit of a break at $499.

If you are on the fence about it, go watch Daniel Hashimoto’s Cheap Tricks: Aquaman Underwater Effects tutorial (Part 1 and Part 2). He explains how you can use all of the Red Giant Trapcode Suite effects with other plugins like Video CoPilot’s Element 3D and Red Giant’s Universe and offers up some pro tips when using www.sketchfab.com to find 3D models.

I think I even saw him using Video CoPilot’s FX Console, which is a free After Effects plugin that makes accessing plugins much faster in After Effects. You may have seen his work as @ActionMovieKid on Twitter or @TheActionMovieKid on Instagram. He does some amazing VFX with his kids — he’s a must follow. Red Giant made a power move to get him to make tutorials for them! Anyway, his Aquaman Underwater Effects tutorial take you step by step through how to use each part of the Trapcode Suite 15 in an amazing way. He makes it look a little too easy, but I guess that is a combination of his VFX skills and the Trapcode Suite toolset.

If you are excited about 3D objects, particle systems and fluid dynamics you must check out Trapcode Suite 15 and its latest updates to Particular, Mir and Form.

After I finished the Trapcode Suite 15 review, Red Giant released the Trapcode Suite 15.1 update. The 15.1 update includes Text and Mask Emitters for Form and Particular 4.1, updated Designer, Shadowlet particle type matching, shadowlet softness and 21 additional presets.

This is a free update that can be downloaded from the Red Giant 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: 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: iOgrapher Multi Case for mobile filmmaking

By Brady Betzel

Thanks to the amazing iPhone X, Google Pixel and Samsung Galaxy, almost everyone has a high-end video camera on their person at all times and this is helping to spur on mobile filmmaking and vlogging.

From YouTube to Instagram to movies like Unsane (Steven Soderbergh) or Tangerine (Sean Baker) — and regardless of whether you think a $35,000 camera setup tells a story better than a $1,000 cell phone (looking at you Apple Phone XS Max) — mobile filmmaking is here to stay and will only get better.

iOgrapher’s latest release is the iOgrapher Multi Case, a compact mobile filmmaking mounting solution that works with today’s most popular phones. iOgrapher has typically created solutions that were tied to the mobile device being used for filmmaking, such as an iPhone, the latest Samsung Galaxy phones, iPads or even action cameras like a GoPro Hero 7 Black.

With the new iOgrapher Multi Case you can fit any mobile device that measures more than 5 ½” x 2 ¼” and less than 6 ½” by 3 ⅜”. Unfortunately, you won’t be fitting an iPad or a GoPro in the iOgrapher Multi Case, but don’t fret! iOgrapher makes rigs for those as well. On the top of the Multi Case are two cold shoe mounts for lights, microphones or any other device, like a GoPro. To mount things with ¼” 20 screw mounts in the cold shoes you will need to find a cold shoe to ¼” 20 adapter, which is available on iOgrapher’s accessory page. You can also find these at Monoprice or Amazon for real cheap.

And if you are looking to order more mounts you may want to order some extra cold shoe adapters that can be mounted on the handles of the iOgrapher Multi Case in the additional ¼” 20 screw mounts. The mounts on the handles are great for adding in additional lighting or microphones. I’ve even found that if you are going to be doing some behind-the-scenes filming or need another angle for your shooting, a small camera like a GoPro can be easily mounted and angled. With all this mounting you should assume that you are going to be using the iOgrapher on a sturdy tripod. Just for fun, I mounted the iOgrapher Multi Case onto a GoPro 3-Way Grip, which can also be used as a light tripod. It wasn’t exactly stable but it worked. I wouldn’t suggest using it for more than an emergency shooting situation though.

On the flip side (all pun intended), the iOgrapher can be solidly mounted vertically with the ¼” 20 screw mounts on the handles. With Instagram making headway with vertical video in their Instagram Stories, iOgrapher took that idea and built that into their Multi Case, further cementing grumbling from the old folks who just don’t get vertical video.

Testing
I tried out both a Samsung Galaxy s8+ as well as an iPhone 7+ with their cases on inside of the iOgrapher Multi Case. Both fit. The iPhone 7+ was stretching the boundaries of the Multi Case, but it did fit and worked well. The way the phones are inserted into the Multi Case is by a spring-loaded bottom piece. From the left or top side, if you are shooting vertically, you push the bottom of the mobile device into the corner covered slots of the iOgrapher Multi Case until the top or the left side can be secured under the left or top side of the Multi Case. It’s really easy.

I was initially concerned with the spring loading of the case; I wasn’t sure if the springs would be resilient enough to handle the constant pulling in and out of the phones, but the springs are high quality and held up beautifully. I even tried inserting my mobile phones tons of times and didn’t notice any issues with the springs or my phones.

Take care when inserting your phone into the Multi Case if you have a protective shield on the screen of your device. If you aren’t extra careful it can pull or snag on the cover — especially with the tight fit of a case. Just pay attention and there will be nothing to worry about. The simple beauty of the iOgrapher is that with a wider grip of your filmmaking device, you have a larger area to distribute any shaking coming from your hands, essentially helping stabilize your filmmaking without the need for a full-fledged gimbal.

If you accidentally drop your iOgrapher you may get a scratch, but for the most part they are built sturdy and can withstand punishment, whether it’s from your four year old or from weather. If you want to get a little fancy, you can buy affordable lights like the Litra Torch (check out my review) to attach to the cold shoe mounts, or even a Rode microphone (don’t forget the TRS to TRRS adapter if you are plugging into an iPhone), and you are off and running.

Summing Up
I have been really intrigued with iOgrapher’s products since day one. They are an affordable and sturdy way to jump into filmmaking using cameras everyone carries with them every day: their phones.

Whether you are a high school student looking to get steady and professional mobile video, or a journalist looking for a quick way to make the most of your shots with just a phone, light, mic and tripod mount, the iOgrapher Multi Case will unlock your mobile filmmaking potential.

The iOgrapher Multi Case is a very durable protective case for your mobile filmmaking devices that is a steal at $79.99. If you are a parent that is looking for an inexpensive way to try and tease your child’s interest in video take a look at www.iographer.com and grab a few accessories like a Manfrotto light and Rode VideoMicro to add some subtle lighting and pick up the best quality audio.

Make sure to check out Dave Basulto’s — the creator of iOgrapher — demo of the iOgrapher Multi Case, including trying out the fit of different phones.


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.

You can now export ProRes on a PC with Adobe’s video apps

By Brady Betzel

Listen up post pros! You can now natively export ProRes from a Windows 10-based PC for $20.99 with the latest release of Adobe’s Premiere, After Effects and Media Encoder.

I can’t overstate how big of a deal this is. Previously, the only way to export ProRes from a PC was to use a knock-off reverse-engineered codec that would mimic the process — creating footage that would often fail QC checks at networks — or be in possession of a high-end app like Fusion, Nuke, Nucoda or Scratch. The only other way would be to have a Cinedeck in your hands and output your files in realtime through it. But, starting today, you can export native ProRes 4444 and ProRes 422 from your Adobe Creative Cloud Suite apps like Premiere Pro, After Effects, and Media Encoder. Have you wanted to use those two or three Nvidia GTX 1080ti graphics cards that you can’t stuff into a Mac Pro? Well, now you can. No more being tied to AMD for ProRes exports.

Apple seems to be leaving their creative clients in the dust. Unless you purchase an iMac Pro or MacBook Pro, you have been stuck using a 2013 Mac Pro to export or encode your files to ProRes specifications. A lot of customers, who had given Apple the benefit of the doubt and stuck around for a year or two longer than they probably should have waiting for a new Mac Pro — allegedly being released in 2019 — began to transition over to Windows-based platforms. All the while, most would keep that older Mac just to export ProRes files while using the more powerful and updated Windows PC to do their daily tasks.

Well, that day is now over and, in my opinion, leads me to believe that Apple is less concerned with keeping their professional clients than ever before. That being said, I love that Apple has finally opened their ProRes codecs up to the Adobe Creative Cloud.

Let’s hope it can become a system-wide feature, or at least added to Blackmagic’s Resolve and Avid’s Media Composer. You can individually rent Adobe Premiere Pro or After Effects for $20.99 month, rent the entire Adobe Creative Cloud library for $52.99 a month or, if you are a student or teacher, you can take advantage of the best deal around for $19.99 a month, which gives you ALL the Creative Cloud apps.

Check out Adobe’s blog about the latest Windows ProRes export features.


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.