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Monday, November 21, 2011

Filed under: GentryMedia Sister Sites •ProVideo Coalition •

Another week in After Effects

Rich Young | 11/21

With news on wiggles, organization, color, CUDA + more

NLEs, Production Premium, and post production

Blackmagic Design Announced that DaVinci Resolve Lite now Includes Unlimited Color Correction Nodes. Stereoscopic 3D features, noise reduction, power mastering, remote grading and sharing projects with an external database server are features not included in this free version. For a discussion see Patrick Inhofer in DaVinci Resolve 8.1.1 Lite – NOT! (aspiring colorists: no excuses) and his various training resources.

Colorist and author Alexis Van Hurkman discussed the latest interoperability workflows for DaVinciResolve, which added round-trip support for Media Composer, Premiere Pro, and Final Cut Pro X at a recent Supermeet:

Jan Ozer discusses Choosing a Graphics Card for Premiere Pro CS5.5. See also Adobe’s Dennis Radeke recent look at results from Diving into NVIDIA GPU’s and what they mean for Premiere Pro. Neither author cover GeForce cards, oddly, though even the preference hack for unqualified cards (1GB+) helps weaker systems speed HD editing and rendering. For more on that see, Mercury, CUDA, and Premiere at AE Portal archive, especially the Studio 1 Productions list, Premiere Pro Benchmark for CS5, and the Adobe PP Hardware Forum.

Here’s Toff Kopriva from After Effects & Premiere Pro Performance Workshop, GPU: CUDA,

Vizworld noted NVIDIA Maximus Technology, which is now supported in CS5.5. For more info, see Todd Kopriva’s Adobe Premiere Pro CS5.5 (5.5.2) update: Maximus functionality and bug fixes/. Here’s a demo:

Todd Kopriva reminds us that Premiere Pro CS5.5 does import .vob files and links to File formats supported for import.

Little Frog in HiDef discusses Working with Adobe Premiere Pro CS 5.5 from the perspective of an Avid user. Track patching seams to be a sticking point for many (and perhaps needs to be rethought to cut out the extra clicking); here’s Andrew Devis on How to use Sync Lock & Target Tracks:

Jon Geddes posted a video on Changing a Button’s Clickable Area in Encore DVD. You’ll need to know this if you avoid the aliasing on live text buttons.

Richard Harrington explores the Media Browser in PP and talks about features that you might not know exist in Mastering the Media Browser in Adobe Premiere Pro:

Walter Biscardi shared a Fix to DNxHD Quicktime stuttering in Premiere Pro CS 5.5.2, if you have an AJA Kona card installed.

The base version of the CineForm 422 codec is free, though perhaps buggy on the Mac. This 10-bit intermediary codec comes with the free GoPro CineForm Studio app. One Subhadip Sen noted recently:

“The GoPro-Cineform codec is very impressive. At 100 Mbps it offers similar quality to the ProRes or DNxHD 185 Mbps modes. The best part is it is VFW so no gamma issues or any other troubles of any kind. However, Quicktime is also an option for Mac compatibility. 4:4:4 and 4K are still proprietary though. ... Neither of these are finishing codecs though. They are best suited to being intermediate proxies. For finishing, there’s no better option than X264 in its various forms. High-CRF X264 10-bit Lossless is pretty incredible as a finishing codec. You can finish at 4K at 400 Mbps, i.e. 50 MB/s. (2K at under 100 Mbps) The quality is superior to ProRes 4444 which is much higher bitrate. You have the option to choose between speed and compression. At Ultrafast and interframe the performance is quite incredible -faster than ProRes/DNxHD/Cineform and it is still more efficient! Of course, if you can compromise with some losses - as you do with DN/PR/CF anyway - you can drop CRF right down to 10. That gives you ProRes 185 Mbps quality at 50 Mbps.”

Heres’ GoPro Cineform Studio - Overview for DSLR-Users by Lucas Pfaff, who says the app is a viable alternative to 5DtoRGB or Red Giant Grinder, and shows the codec in AEM and After Effects:

Miscellaneous

The Known Universe “takes viewers from the Himalayas through our atmosphere and the inky black of space to the afterglow of the Big Bang. Every star, planet, and quasar seen in the film is possible because of the world’s most complete four-dimensional map of the universe, the Digital Universe Atlas that is maintained and updated by astrophysicists at the American Museum of Natural History.”