PsF’s missing workflow, Part 8: ClipWrap to the rescue

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In #4, we did the same with several HD video recorders from 6 different manufacturers. In #5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF on a progressive sequence in Premiere Pro CS5.5. Now in #8, I’ll reveal how the US$49.99 middleware known as ClipWrap will be the cure-all for all of AVCHD’s multiple weaknesses, including both types of PsF, at least in the short term.

PsF’s missing workflow, Part 7: Adobe Premiere Pro CS5.5.x

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In part 4, we did the same with several file-based HD video recorders from 6 different manufacturers. In part 5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. In part 6, I published and Open Letter to all pro AVCHD manufacturers. Here in part 7, I’ll cover how to deal with 25PsF and 29.97PsF on a progressive sequence in Premiere Pro CS5.5.x.

Kicking the Tires on Avid Media Composer 6

Avid Media Composer 6 began shipping last week after being announced just under a month ago. The release has seen quite a bit of press as it was teased back in the summer and a large part of that tease was letting users know what they could expect when this version came along. I haven’t had a chance to really pound MC6 as of yet since it just shipped but I have been kicking the tires on it for the last few days. Keep an eye on That Post Show for upcoming episodes all about MC6.

Workarounds For FCP X Shortcomings?

In this latest episode of “The Terence & Philip Show” we start by discussing the release of Final Cut Pro X 10.0.1.  We know what features are in this release and what else is coming in “early 2012″ but what will Apple do for Version 2?

We also cover, Intelligent Assistance’s new release of Project X27 for transferring Final Cut Pro X XML to Final Cut Pro 7 XML for use in Color, Soundtrack Pro, Premiere Pro CS 5.5, OMF export and beyond. This leads to a discussion about the various flavors of XML and the differences in data structures between the two versions of Final Cut Pro. The differences between the publicly available FCPXML and the internal AXEL XML format used by Apple internally and for the Automatic Duck OMF/AAF export from Final Cut Pro X.

We briefly discuss the Automatic Duck changes in that context.

Back to the Final Cut Pro X discussion we talk about how fast Final Cut Pro X is in practical editing, and where the deal breakers may be for certain editors.

Click on the link below and join the conversation.

The Adobe Premiere Pro timeline for Final Cut Pro users

When working in a non-linear editing application the editor spends many, many hours working in the timeline. Boy do we spend a lot of hours working in the timeline. If you’re moving from Final Cut Pro 7 to Adobe Premiere Pro 5.5 then you won’t be totally lost as there are a lot of similarities between the two application’s timelines. But there are some important differences as well. Let’s take a closer look at the Premiere Pro timeline if you’re moving from FCP 7. Did I mention how much time editors spend working in the timeline?

Film Is Dead!

In this episode Philip & I cover a series of topics starting with large sensor cameras in production, the November 3 announcements from Canon Professional video, RED and Avid. Then on to the death of film, the cinema experience, and the problems of 3D.

We’ve been predicting the demise of the Mac Pro in the current form fact for some time, and during this early October recording, we discuss what has this week become rumor: the demise of the heavy iron workstation. (And the value of SSD.)

I report from the Monitor shootout day sponsored by the Hollywood Post Alliance, and HPA sponsored workflows.

We also get onto the future of Apple after the loss of Steve Jobs (just like everyone else!), leading to a discussion of who invented what?

The implications of Siri for postproduction: specialist tools vs generalists tools.

To join us just click on the player link below.

Avid Media Composer 6 is announced and it’s moving into the future

Today was the day for the Avid webcast where they announced a new version of Media Composer. Version 6 will ship on November 15 and may be one of the most important releases of Media Composer since … well version 5.0. Version 5 ushered in the big change that is the Smart Tools and caused quite a ruckus amongst old timers. Version 6 will see an updated interface. That interface is a surface change but there’s a lot of under-the-hood changes as well. In fact, I think it could be said that Media Composer 6.0 is sort of like a reboot, or maybe a reset as I heard one person say. The last time we heard the term reboot when talking about an NLE was Final Cut Pro going to version X. Avid’s reboot is much more subtle. It’s the kind of reboot that is needed, mostly under-the-hood that builds a platform to move forward into the future without sacrificing the features we’ve come to use and rely on.

All of the Automatic Duck plug-ins are now free

It was just over a month ago that the post-production community was surprised by the news that the perennial workflow / transfer tools from Automatic Duck were suddenly gone. If you’ve been under a rock get up to speed on that news here and here. Another bombshell dropped Friday night when news broke that all those legacy Auto Duck products are now available for free.

A report on Walter Murch’s talk at the Boston SuperMeet

I wasn’t able to make it to the October 27 Boston SuperMeet though I really, really wanted to go. With a lineup that included the editor of Apocalypse Now and The English Patient, that would be Walter Murch of course, as well as Andrew Weisblum, editor of Black Swan and The Wrestler this looked to be a craft-focused event. Of course everyone wanted to know what Murch thinks of Final Cut Pro X and thanks to Chris Portal’s report from the event we now know.

PsF’s missing workflow Part 1: BENIGN PsF versus MALIGNANT PsF

Here in Part 1 of PsF’s missing workflow, I’ll define two new terms I’m introducing: benign PsF and malignant PsF. Fortunately, both Adobe Premiere CS5.5 and Apple Final Cut Pro X handle benign PsF (progressive segmented frame) automatically in the most desired way. Unfortunately, neither of these programs can handle malignant PsF properly. This means that —even with the latest software— it is your responsibility to avoid the multiple pitfalls of misinterpreting malignant PsF. You must be aware of it and take the necessary steps to counteract it. This article will cover Panasonic’s AVCHD/AVCCAM PsF status. Upcoming articles in this series will reveal the PsF status of other cameras and recorders, and the workflows & workarounds with popular editing software.

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