Archive for April 11th, 2008


RED FCP Workflow Video

Just posted by Terrence Curren to the FCP-L:

The unedited, or less edited versions of the red workflows captured at the
Editor’s lounge are now online.

And here’s a direct link to the video. Bloggging before watching, so I hope it’s good (I’m sure it is).

proactively • getting my learn on • peter


Special thank you to Terence Curren and Alphadogs for providing this footage. I’ve edited them into digestable segments for your viewing pleasure:


The Orphanage buys a Nucoda Film Master

Stu Maschwitz over at ProLost just posted that his company, The Orphanage, has recently purchased a Nucoda Film Master and used it in the production pipeline for finishing Frank Miller’s new film The Spirit.

It’s always fun to see what tools people with money get to play with, so here’s a thumb of the Film Master interface (click to see full rez):

Looks a bit different from Color’s interface, eh? I can see it has the ability to create user shapes, for starters. And it appears to have a left-to-right node tree under the timeline.

More interesting than the screen shot (ok maybe not) is a very well crafted article by Kevin Shaw titled

Colour Correction, Enhancement & Creativity: Advancing the Craft

His thesis states:

[Colorists] want a high quality, random access source on an open architecture system in a standard format. We want fast, easy access and real time playback and we want the Holy Grail – one master that can produce multiple formats and versions.

It’s interesting to consider the work flow Color presents and take note where it may fall short in the eyes of seasoned and talented colorists out there like Mr. Shaw. I feel lucky enough to have Final Touch / Color available to begin my path down the colorist road.

Even better, Mr. Shaw offers up some definitions in the sidebars:

By color correction I mean adjusting the color balance and contrast of an image to compensate for unwanted flaws or deficiencies in a capture or conversion process, so that the image more closely matches the original. Examples of flaws are overexposure, underexposure, or colorcasts, while deficiencies include limited dynamic range or change of color space. Both labs and telecine suites color correct images.

Color enhancement is a change to the image that does not necessarily reflect reality, but which is intended to add emphasis or meaning to the image. Enhancements may or may not be planned at the shooting stage. Enhancements are usually applied to elements within an image and therefore the implication is that it involves a colorist with a more sophisticated post-production color system.

Color creativity does not have an established industry definition, but I use it here to mean the use of color and contrast to define a look or style that is not necessarily related to the original image, but more to an abstract theme or message. The term therefore is wider in concept than color enhancement, and would include art direction and photography as well as direct color manipulation. In theory it should be a preconceived collaborative effort, but that is not always the case.

It’s really cool to see the big boys showing off their toys and shedding light on what they can do. All I know as far as price point goes is that the Film Master requires Bluefish 444 hardware and Bluefish is notably the most expensive, and highest quality, third party hardware on the market (when compared to a Blackmagic Intensity Pro or the like). So it ain’t cheap.

But then if you’re in the feature biz you aren’t thinking in terms of thousands of dollars, you’ve moved on to money aside, what tool will do the best job thought processes. One can only dream.

proactively • dreaming • peter


NAB Show Blog

I’ve been invited to contribute to the official NAB Show Blog. I’ll be posting info on cool events, gear and apps to check out at this year’s NAB show.

If there’s a something cool you’d like me to write about, post a comment here.


Matrox MXO 2 Drops

RED Camera Workflow Videos

Matrox Booth SL320

RED Camera Booth SL3820

Stu Maschwitz Keynote April 16th S222/223

Ron Brinkmann at The Foundry Booth SL2624


Pro Applications Update

Two immediate highlights I see is the addition of an SD Anamorphic Apple TV preset in Compressor and the addition of an HDV 4:2:2 codec.

My advice is to let the early adopters out there find out how well this works before trying it yourself. And if you are an early adopter, I’d love to hear your feedback!

Here’s the link to Apple’s website for the entire release notes. My highlights are:

Final Cut Pro 6.0.3 Release Notes

This section contains release information about Final Cut Pro 6.0.3.

Mac OS X v10.5 Leopard Support

Final Cut Pro 6.0.3 is compatible with Mac OS X v10.4.11 and Mac OS X v10.5.2 Leopard.

Sony XDCAM HD422 Support

Final Cut Pro 6.0.3 supports editing media in the XDCAM HD422 format. You can now choose the following XDCAM HD422 Easy Setups:

  • XDCAM HD422 1080i50 CBR
  • XDCAM HD422 1080i60 CBR
  • XDCAM HD422 1080p24 CBR
  • XDCAM HD422 1080p25 CBR
  • XDCAM HD422 1080p30 CBR
  • XDCAM HD422 720p50 CBR
  • XDCAM HD422 720p60 CBR

For more information about XDCAM HD422 format support, open Final Cut Pro and choose Help > HD and Broadcast Formats.

Exporting Stills with the Correct Aspect Ratio

When using Final Cut Pro 6.0.2 to export video to formats compatible with Apple TV, iPhone, or iPod devices, the video was scaled to the correct aspect ratio. However, exported still images were also scaled, leading to a loss in quality. When using QuickTime conversion in Final Cut Pro 6.0.3, still images are exported at their native aspect ratio.

Compressor 3.0.3 Release Notes

This section contains release information about Compressor 3.0.3.

Anamorphic Pixel Options for Apple TV

Compressor now includes options to create media files for Apple TV with anamorphic (non-square) pixel aspect ratios. The pixels are scaled by Apple TV to fit the intended aspect ratio during playback. In Compressor 3.0.3, an additional item appears in the Device pop-up menu of the H.264 for Apple Devices Encoder pane:

Apple TV SD (Anamorphic)

Apple HDV Codec 1.4

This release of Apple HDV Codec provides 4:2:2 support in Final Cut Pro.

So there’s a new HDV codec with 4:2:2 color spacing?? As far as I was aware all HDV cameras recorded 4:2:0 colors pace. Maybe this is Apple tipping it’s hand towrads upcoming NAB announcements and releases.


Matrox MXO-K…

Gulio at Matrox offered great over the phone tech support. He immediately filled out an RMA to replace my faulty MXO. No redundant troubleshooting necessary, he said, I trust you went through the steps I outlined in my forum post and that’s good enough for me.

This is customer service the way it’s supposed to be. Better than it’s supposed to be, actually. I’ll update as soon as I receive the replacement MXO, sometime next week I suspect.

In related news, the OptShiftK team came over tonight doing a test calibration of my Dell 2407WFP with both the Spyder 2 Pro and Spyder 3 Pro. Look to the new brain trust blog for full calibration details (coming soon).

April 2008

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