Bigger. Better. Faster. Smoother. That’s really all you need to know.
And now that you have a blog soundtrack to set the tone, I’m going to spit some tech-babble on the mic:
4K. UltraHD. 3840×2160. VP9!!!!!
Here at YouTube Nation, these are all terms that can simultaneously elicit profound enthusiasm or a glazed donut glance of ‘what geekery are you ranting about now, Peter?’
And if I follow it up with ‘VP9 is the newest biggest deal ever!’ – power naps might spontaneously commence literally in the middle of our daily Production meeting. So, with great personal effort, I will push most post nerdery to the end of this blog entry and get on with the simple.
obligatory resolution comparison chart
Being the first daily 4K show on YouTube is awesome. It’s like getting to say ‘first!’ in the comments of your favorite band’s new music video for all to see. Joking aside, it means we get to bring you better than broadcast quality YouTube content everyday. And with VP9 encoding, you can stream four times better than broadcast HD straight to your laptop. The picture really pops!
Creatively, it means we can invite you into our studio to hang out with us and all of our great YouTuber guests in amazing detail. Grace in 4K. Mystery Guitar Man in UltraHD. Strawburry17 in 2160p! Get to know all the YouTubers you know and love like you’ve never seen them before :)
And it goes without saying it takes some super smart technology companies to make this happen. YouTube’s platform enables bigger, better, faster and smoother playback of your favorite shows. We use Red Scarlet cameras to capture the 4K picture, Adobe Creative Cloud to cut, composite and color grade the final show and Silverdraft Demon servers to encode our final 4K file for uploading to YouTube.
Alas, I’ve digressed; you knew I couldn’t contain my post nerdery forever :) Anyone interested in diving deeper into the 4K production culture, check out the links below.
A very happy day for me! Option+[Up Arrow] was a longtime and often used keyboard shortcut I used to constrain move video clips up and down video tracks. A very useful command when online editing, conforming, etc and you want to quickly and precisely move lots of timeline elements from V2 to V1 knowing you won’t lose sync.
Search nudge in your keyboard shortcuts (presuming you are using the default FCP 7.0 keyboard shortcuts as I started with) and you will see:
Then simply map option+[up arrow] and option+[down arrow] respectively:
I feel strongly it is very important to remember that filmmaking, as a professional endeavor, should never lose the emphasis on showBUSINESS. When you decide to make a production of any kind, you still have to eat, pay the rent, have health insurance, put gas in your car, put money in the bank – and then there’s the rest of your team on your production that has to do THE SAME THING.
I was fortunate enough to get a sneak peek of Premiere and SpeedGrade, as well as After Effects CS6 – all included in the upcoming release of Adobe Production Premium CS6. I must say that the FCP + Color paradigm has not only been successfully matched by Premiere + SpeedGrade, it has been improved upon exponentially. With Adobe Production Premium CS6 you now have a fully native .R3D capable post pipeline for 2D & stereoscopic 3D projects.
I’ve worked with Premiere 5.5 on a couple of projects now and some big plusses were native .dpx file playback and good workflow interoperability with After Effects. The real time DPX playback can be particularly nice for VFX editorial pipelines. Not sure how important this is for Adobe though I’m sure folks at The Foundry working on Hiero are paying close attention to these developments. Of course one of Premiere’s ongoing strengths has been EDL and XML pass through so if Hiero is already a big part of your pipeline Premiere will have no problem playing nice.
Obviously, the dynamic link functionality with After Effects is great for cutting animatics, managing and versioning the work of several motion graphics artists in your timeline while continuing to peice together a story and edit audio in a functional NLE GUI. The keyboard shortcut capabilities of Premiere 5.5 definitely left something, well ok quite a few things, to be desired. From what I’ve seen so far in Premiere CS 6 this has been a point of emphasis for marked improvement by the Adobe team and it shows. Josh Weiss of Retooled.net has quite a few nice tutorials so click thru and check them out. And I’m not an After Effects person but Chris Meyer certainly is; you can read all about his take on After Effects CS6 and its new features here.
As for SpeedGrade, I’ve been using it in a playback and review environment for about a year and a half now (the last version released by IRIDAS before the Adobe purchase). It is definitely a step up from Color as a conform tool, it has stereo 3D optimization features and a legacy of color grading chops, and it also has lots of potential as a front end on set data management system since it can be equipped with a Red Rocket card. What I like most about SpeedGrade is that it rounds out Production Premium CS6 to be a fully functional 4K post production pipeline. It fits the Final Cut Studio paradigm so many of us have come to know, love and expect. And it’s brought to you by a company that has a proven track record of treating its suite of applications like its life blood.
Looking forward to implementing this new suite into full time post production pipelines… see you at NAB!