Premiere Pro CC 2014 Possable Smooth Playback Solution

Hi All,

Happy holidays.  So I just updated my PPro to the lasted version as I saw a news blast they had released an update this week to build 8.2.0.  I tried an earlier v8.1 pre build 65 version and it had really bad playback - very choppy.  All excited, I launched the new version... and....... CRAP!!!!!  same thing.  However, I did catch something that I maybe didn't see before:  Once you have updated to the latest version it appears the playback engine defaults to OpenCL instead of CUDA for accelerated playback and rendering.

I created a new project and switched the settings at startup and voila... the new project was playing back perfectly.  I then closed that new project and re-opened my older project that was stuttering and now it was playing back nicely too.  

I also did a quick export with matching sequence settings and it went about 3x speed.  Conversion to H264 was pretty slow taking roughly 16 minutes for a 2 minute piece.  1920 x 1080 30p  5D/GoPro mixed footage.

Well, I hope this helps a little.  I was searching for a while for this and got close but never saw anything about the playback engine.  I did the rollback to 8.0.1 once last time but now I'll stick with the newest version as it seems to be working =)

Merry Christmas and Happy Holidays,

TDTrey

My New Sigma 50mm ƒ1.4 DG HSM Lens

I just picked up my new Sigma 50mm ƒ1.4 DG HSM Lens from Samy's Cameras on Monday - Wow!!!  I've been waiting for it to come on now for about 2 months and it was worth the wait.  All the research I've done says this is one of the sharpest lenses to come along in a while and they are right. 

I'm using this lens on my 5D3 rig.  This is one in a new line of lenses from Sigma.  They also offer a 35mm ƒ1.4  Full Frame and a 18-35mm ƒ1.8 zoom for an APS-C size sensor.  

The skinny:

• Very sharp - all the way to ƒ1.4
• Great contrast
• Great color rendition
• Smooth focus ring
• Fast auto focus
• Nice ergonomics

So of course I wanted to shoot an image as soon as I got it and had 2 choices; the cats or the bird feeders ( man!! I'm getting old =).  So forgive the not so scientific photos... I will post some real shots and video as soon as I get a chance.

Along with the lens I added a cool little focus gear from DLC called a DL-V/Band.

It went on really easy and is nice and snug. Not too much extra hanging over to catch on the camera rig.  Smooth feel with my Chrosziel follow focus.  $15 USD.

All in all a nice ad to my kit.  I was holding out for a Rokinon 50mm Cine lens but as they seem to never want to make that lens (rumors be damned!!!!) I thought it's time to make a move.  Stay tuned and I'll post some more info as I discover it though use.

Until next time, Good shooting

TDTrey

CineGear 2014

Well it's that time of year again - CineGear!!!

Seems like 2014 is the year of the copter and the gimbal.  

There were more copter offerings and camera support systems then I could shake a Steadicam at.  When you first walked in there was a copter & gimbal booth just waiting for new folks to have a peek.

 

All the usual suspect were there and many new ones.  This year I had a short list of items I was interested in.  I'm mostly looking at camera support and control.  Things like wireless video, wireless follow focus, a basic copter solution and I'm paying close attention to the race for the winning handheld gimbal kit. The camera race is definitely heating up but I don't think I'm ready to jump into 4K yet and since that race is just getting started at the consumer and prosumer level, I'm hoping more time will lead to better product and pricing.

Here are some of the cooler rigs

But the best one of all (Yes.. the USS Enterprise.  We are at Paramount after all =)

For me, I found something I was looking for on every street.  Teradek had a nice offering with their updated Bolt Pro line of wireless video.  Noe it can work up to 2000 feet line of sight.  I also checked out IDX and Paralinx.  I think, for now, I might lean towards the Paralinx Arrow solution as I mostly need a multicast function with near zero latency.

I stopped by the Redrock Micro booth and took another look at their wireless follow focus the MicroRemote.  Still looks nice.  I wish they would come out with the iPhone controller they showed in 2012.  Zacuto has a really cool lens control system that works in a grip form factor called the Control Grip.  It's a 2 motor system that can control either Zoom and Iris or Focus and Iris.  It's still in the testing stage and should be out later this year.  I wish I had known about the new TitlaMax focus system from Tilta.  I just saw this yesterday and would have loved to check it out in person.  It is a 3 motor system (FIZ) with brushless German motors and a nice IPS touch screen for easy configuration and display.

One of the best things I found is from Woodencamera.  It's their multi connector breakout box: the C-Box.  It can take HD-SDI and/or HDMI in and then send the signal out 3 HD-SDI BNCs and 2 HDMIs all at the same time.  Wait, it get's better...  You can put a battery mount on one or both sides so it can function as your power distro with 2 D-Taps or clip on to an existing battery mount as an add on to extend a system. Nice!!!

It was a nice show this year.  I ran into a lot of friends there and saw a bunch of great new gear.  Can't wait till next year!!!

Until next time, Good shooting

TDTrey

12G... What's on the horizon I wonder???

So at last year's NAB the big announcement from Black Magic Design was the Production 4K camera and it's ability to use 6G SDI to get the signal down one pipe.  This year it's the introduction of the URSA and a 12G pipe.  Along with BMD, Atomos introduced a new external recorder, the Shogun, which also is sporting a 12G connection...

So I'm wondering what's coming down the pipe??  If 6G is able to handle 4K UHD no problem...  What can 12G handle?  Are we aiming for an 8K world in the near future??  It would be interesting.  If you think about it, the new URSA has a great architecture for  future proofing - replaceable lens turret with the sensor inside.  As sensors increase in both spacial and temporal resolution they just have to release an update for a moderate price and have it "plug into" the URSA body... Not a bad idea. 

Enter the Shogun...  If a 12G feed is the new goal then this is the recorder that can keep up with it.  Atomos seems to be on the leading edge.  Also the Shogun is the new planned companion recorder for the Sony A7s and it's 4K features.  I just like that it's a 7" screen and now has XLR I/O with Mic/Line/Phantom settings.  I have the Samurai Blade and like it a lot.

No big revelations here.  Just me pontificating on a Saturday morning =)

Until next time, Good shooting

TDTrey

The Big Small Rigs...

So here is a cool version of my 5D3 rig with my iPad Prompter on it.  It's pretty tight.  The prompter is driven by my Macbook Pro using a display mirroring software over WiFi.  The system is pretty light weight all things considered and I can take it handheld if needed.  I am using an ATOMOS Samurai Blade to record in ProRes straight out of the camera's HDMI. It also records the final audio in sync with the picture.

Here is another version of the rig using a SmallHD AC-7 monitor for the field.  I like the size of the AC-7 and how bright it is.  This is the rig when clients want to record right to CF and not deal with the ATOMOS. 

With the focus on new cameras looking toward 4K this year it will be interesting to see how the world of the 5D fairs.  I am intrigued by the GH4...  I have clients still asking for the 5D3 and the 5D2.  they like the look of the full frame sensor and want to go with a known camera.  I think I'll get another year or two out of this rig. 

Until next time, Good shooting

TDTrey

Blackmagic Production Camera 4K is Here!!! And it's CHEAPER - YAY!!!

I just received word from BMD that the BMPC 4K is shipping as of today.  I checked B&H and a few other sites and they are still showing it as a pre-order item but the press release just hit a few hours ago.  Along with the terrific news of official shipping it is also making it's debut at a lower price point $2995.  Down $1K from the original MSRP.  It is still shipping with a full copy of Resolve  and appears not to have lost anything in the process.  First thing I checked was the BMD site for the specs and everything still appears to be there so it's all good.  Hopefully as the units start making their way into the market a few review units will drift into bloggers hands =)  I'll keep you posted.  For now please see the full press release below and let me know your thoughts.

Fremont, CA - February 10, 2014 - Blackmagic Design today announced the Blackmagic Production Camera 4K is now shipping and with a new low price of US$2,995. This new low price will be available for all customers, including existing pre-orders. Blackmagic Production Camera 4K is available now from Blackmagic Design resellers worldwide for only US$2,995.

“The support from the creative community for the Blackmagic Cinema Camera and Production Camera 4K has been amazing,” said Grant Petty, CEO, Blackmagic Design. “As with all of our products, we work hard in production to reduce costs so we can pass along the savings, even to our first Blackmagic Production Camera 4K customers. The Blackmagic Production Camera 4K is a perfect companion for ATEM Production 4K switchers and we hope the new low price will help more customers to expand their Ultra HD live production set ups with even more camera angles!”

About Blackmagic Production Camera 4K

Blackmagic Production Camera 4K is a super high resolution 4K digital production camera for Ultra HD television production. Featuring a large Super 35 sensor, professional global shutter as well as EF and ZE compatible lens mount, the Blackmagic Production Camera 4K captures high quality ProRes™ files, giving customers a complete solution to shoot amazing high resolution music videos, episodic television productions, television commercials, sport and documentaries.

The Blackmagic Production Camera 4K has everything customers need right out of the box including a built in SSD recorder, rechargeable battery and a large 5” LCD touchscreen. In addition to focusing and monitoring shots, the touchscreen also lets customers enter metadata and change camera settings all on a single easy to use interface. Customers also get a full copy of DaVinci Resolve for amazing quality color grading and finishing for Mac OS X and Windows computers.

Key Features

• Ultra HD 3840 x 2160 resolution
• ProRes 422 (HQ)™ recording
• Super 35 sensor
• Global shutter
• EF and ZE compatible lens mount
• Built-in SSD recorder
• 5” LCD touchscreen
• Metadata entry
• 6G-SDI output for 10-bit HD and Ultra HD

Availability and Price

The Blackmagic Production Camera 4K is available now for US$2,995 from Blackmagic Design resellers worldwide.

Until next time, Good shooting

TDTrey

Blackmagic Design Announces DaVinci Resolve 10.1

Blackmagic Design Announces DaVinci Resolve 10.1

Fremont, CA - January 17, 2014 - Blackmagic Design today announced the release of DaVinci Resolve 10.1 software which adds new editing and 3D stereoscopic features as well as support for Final Cut Pro™ X 10.1. DaVinci Resolve 10.1 is available now for download free of charge for all existing DaVinci Resolve customers from the Blackmagic Design website.

The new DaVinci Resolve 10.1 update adds innovative editing features that includes allowing users to preview and align multiple camera takes while editing, so they can quickly switch between takes to show their clients shot options live from the timeline. Editors can now copy individual clips in the editing timeline with a simple drag and drop, making it easier to use the same footage in different parts of the edit.

The enhanced editing tools also include support for trimming frame based clips such as DNG and DPX that reduces time in transferring clips for even faster workflows, as well as Rich Text title support which allows every character’s size, position and color to be adjusted individually directly from the Edit page.

Also featured in DaVinci Resolve 10.1 are XML import enhancements for both FCP X 10.1 and FCP 7 customers. Compound clips from FCP X 10.1 with separate A/V elements are now split into individual clips and imported FCP 7 XML’s include font properties and timeline markers as well as being able to bring across sizing, cropping and composition parameters. Now shot reframing adjustments made during Final Cut Pro editing will translate even more accurately into the DaVinci Resolve timeline.

Customers with the full software license of DaVinci Resolve will get enhanced 3D stereoscopic tools including a full stereoscopic multi track editing timeline, enhanced convergence adjustments and automatic alignment.

“We are really excited to be adding even more advanced editing features so quickly after the release of DaVinci Resolve 10,” said Grant Petty, CEO, Blackmagic Design. “Resolve 10 has been a massive update with over 50 new features including temporal processing, Open FX Plug-ins and powerful onset tools. The additional editing tools we are releasing today give customers more precise control over their projects from within the DaVinci Resolve timeline and improves integration with popular editing and visual effects software so that customers get the best workflow possible.”

Until next time, Good grading
TDTrey