Archive for November, 2008


youtube – widescreen!

Happy Turkey Day from Youtube, 16×9 widescreen is now the default viewing experience.  Here’s an embed of the In Studio show my brother Jon produces for 103 WRNR in Annapolis, MD.

Embeds are still letterboxed but if you check out this video on YouTube’s site you will see it displayed in its native 16×9 widescreen glory. Note, I am embedding the high quality version by adding “&fmt=18” to the tail of the video’s YouTube url.

The footage is captured on Canon HV20, HV30, and HF10 cameras as available (thanks again Mike the Mailman!).  Shot with a 23.98 frame rate and edited as a multiclip sequence in Final Cut Pro, the key to taking advantage of YouTube’s new widescreen presentation is choosing the appropriate Compressor export setting:


Name: H.264 for iPod video and iPhone 640×480
Description: H.264 video @ 1500 kbps, progressive, multi-pass. Audio is 44.1 kHz, stereo
File Extension: m4v
Estimated file size: 644.17 MB/hour of source
Device: iPod/iPhone VGA
Frame sync rate: 5 seconds
Video Encoder
Format: QT
Width and Height: Automatic
Pixel aspect ratio: Square
Crop: None
Padding: None
Frame rate: (100% of source)
Frame Controls: Automatically selected: Off
Codec Type: H.264
Multi-pass: On, frame reorder: Off
Pixel depth: 24
Spatial quality: 50
Min. Spatial quality: 50
Key frame interval: 120
Temporal quality: 50
Min. temporal quality: 50
Average data rate: 1.5 (Mbps)
Maximum data rate: 4 (Mbps)
Audio Encoder
Format: MPEG4
Sample Rate: 44.100kHz
Channels: 2
Bits Per Sample: 16
AAC encoder quality: high
Data rate: 128 Kbps

Or if you wanted to be super efficient, you could use this setting…


…and upload the same compression to YouTube and Vimeo.

So WTG YouTube, now can we get 720p already?

proactively • all HD all the time • peter


redrelay – awesome red footage resource


Just found RedRelay while reading Stu Maschwitz’ latest ProLost post talking about the subway short trend. RedRelay looks to be a great resource for getting your hands on RED footage to cut & grade.

All the comprehensive info describing how each clip was shot makes this site a great learning resource as well. You can download RED footage, iPhone versions of the clips, tiffs, and even follow a hotlink to the related reduser thread. Awesome.


Now go download some RED footage and put that Color 1.0.3 update to use.

proactively • loving this site • peter


To do that grading in Color, you will of course need to get the RED FCS2 Installer…


…and the RED Quicktime Codec.


Oliver Peters posts to the FCP-L:

The new RED FCS2 Installer at includes a workflow white paper. This new installer adds some native functionality when working with .R3D files in FCP and Color. You must have done the most recent ProApps update before installing the new RED components. Even if you don’t actually run the RED installer, it’s worthwhile to download the archive file and review this PDF white paper.

And here’s a sneak peek of the white paper for your enjoyment:



apple shake – not dead!


Apple has shocked the compositing world, releasing an update to their generally presumed-for-dead nodal compositing app Shake.

You can download the Shake 4.1.1 pdf here. If you’re new to Shake and / or nodal compositing, check out Andrew Shanks’ Shake tutorials at the Creative Cow.

Also included in Apple’s Pro Applications Update 2008-04, FCP updates to 6.0.5, Compressor to 3.0.5, and Color to 1.0.3.  You can read all about it here.

Some more exciting aspects include XDCAM 422 and RED plug-in support in Color and improved high-precision rendering in FCP.  Yay, RED footage grading!

For all you cautious early-adopters (and rightly so!), Charles Vanderpool on the FCP-L donned his guinea pig halloween costume.  He reports:

Everything’s working fine so far. (Knock on Clone) FCP & STP good to go. No Color test yet. Too short a deadline to use it currently.

As always, I recommend waiting to upgrade until you have a business need and you are NOT in the middle of a current project.

proactively • dusting off noodles in my node tree • peter


final cut studio 3 – rumors & predictions

An interesting thread popped up on the FCP-L today as a follow up to all the Adobe integration in the recent RED Scarlet & Epic announcement: what does the future hold for Apple’s Final Cut Studio 3?

Jim Feely set the table with this MacWorld San Francisco prediction:

So what’ll Apple show at Macworld SF? I’m assuming they’ll have a booth
there. Anyway, Macworld could be the Mac Pro & OS 10.6 show this year. And
what the heck, they’ll demo FCS3 to show off the amazing power of their new
hardware. And they’ll make some point about how FCS3 is perfectly positioned
for the switchover from analog to digital television…which happens to
occur in the US one month later.

The Mac Pro hardware will be ready to go. Not sure about 10.6, but FCP (and
really, the emphasis will be on FCS3) will be more of a technology demo and
will ship sometime later.

Partner announcements will be about some major productions going Apple from
post to delivery to consumers via iTunes, Apple TV 3.0 (that happens to work
really well with NetFlix, Amazon, Hulu, YouTwob…that’s the 2.0 version of
YouTube…and whatever else Google and/or AT&T own at that time.

And then Craig Seeman chimed in with a more specific tea leaf reading:

With FCS3 people will notice that DVDSP is gone, Jobs having declared DVD dead.
Compressor will be greatly expanded.

Apple will introduce MobileMePro accounts which will come free with FCS3. It’ll have
unlimited storage and you’ll be uploading 720p24 H264 files which will be wrapped in a
Flash player as Jobs emphasizes the death of DVD as well as Blu-ray.

There will be no optical drive at all in the new MacPro and, instead, they’ll be an eSATA port
as Apple claims Hard Drives as the means to long term archival along with backing all video
up to your MobileMePro account. People will grumble about having to buy an external DVD or
Blu-ray burner.

Adobe will continue to refuse to unbundle Encore but will have a 50% off FCS trade in
program (reminiscent of Apple’s “send us your Premiere Pro discs and you’ll get Final Cut
Express free deal) for its Produce Suite.

While there has not been an official announcement from Apple regarding Final Cut Studio 3, it sure is fun to hypothesize. I’m still waiting for the Motion 3 + Shake super app. When’s that coming?

proactively • reporting prophecies • peter


blog bomb – red scarlet & red epic


Good lord… just follow this link. Pictures galore and everything spelled out in red, err black & white.

proactively • getting back to blogging • peter


Can’t think of a better person to put this RED and Canon 5dmarkii technological whirlwind into perspective than the infamous Bob Zelin . On today’s FCP-L, he posts:
…most people on this list have been made aware of the Canon EOS D5 Mk II camera which is going
right after the Red Scarlet market. And believe me – there will be others – LOTS OF THEM, and they will all
be great, and they will all be cheap.

What I do realize is that a DIFFERENT TYPE OF WORKFLOW is about to happen. It’s already started to happen with Panasonic P2, Sony XDCam EX, Sony XDCam HD, and of course RED. And now Canon. And there will be more.

What this means is that the idea of “joe shmo” popping in a tape in his HDV or Beta camera and hitting the record button, and then popping his tape into “VTR-XYZ”, and digitizing – those days are ending.

The people in denial with their stupid Sony Beta VTR’s are the same people that could not deal with the death of CRT monitors, and said that CRT’s would always be made for the professional clients. Just like 1″, just like 3/4″.

The business is changing faster than ever, and believe me, if you are supposed to be an “expert” like me – well, it scares the crap out of me because all of this is a BIG CHANGE in a very short period of time, and it is sure tough for me to learn all this new stuff. I really don’t want to learn Premier, or the XENA product line, but I didnt’ want to learn FCP, and I didn’t want to learn AVID. But I had to, to stay in business, and support myself, and my family.

There will be plenty of those that say “aah – this Red crap, this Adobe stuff -it will never happen”. These people will become unemployed – just like the film editors – just like the linear video editors. HD just started – are there any “low end” film cameramen anymore, that do low to mid budget shoots with an Arri 16SR (I know that all hi end is still 35mm – at least for now).

bob Zelin

***UPDATE 2***

And in case you’re like me and wondering to yourself “What the hell does 28k even mean??!!” Stu Maschwitz over at ProLost put together this simple diagram to help us realize how small we really are:

Check out the rest of Stu’s epic RED coverage here.

November 2008
« Oct   Dec »

Twitter Updates

Error: Twitter did not respond. Please wait a few minutes and refresh this page.

Blog Stats

  • 290,597 clicks since March 2008