Sony Catalyst Production Suite… yes, Sony still has an NLE.

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Surprisingly enough, Sony still has an NLE. After selling off Vegas, apparently they weren’t ready to leave the NLE space. It seems odd to me, and I’ve never used it, but from the articles, reviews and just poking around the site, it looks like the interface is a mashup of… you guessed it, Premiere, FCPX and now I’d even add in Resolve.

Review from provideocoalition.com of the latest update to Catalyst.

I’m just wondering, how many people in the post production industry actually use this? Is it functional? From the tiny bit that I ever used Vegas, it wasn’t a bad tool, just different than the primary tools on the market. I’m usually the first to download the trial of an NLE and kick the tires, or as I tell people, try and break it, find out the weak points, make it crash, etc. But I’m less inclined to even give this a go because, well, it’s Sony software. I own Sony cameras, don’t get me wrong, they make some of the best imaging hardware out there, period. But software has never been their strong suit, so I might have to let this curiosity pass, at least for now.

Faster Playback in #DaVinciResolve

I’ve always been a big fan of Final Cut Pro X’s Proxy workflow, it’s one of the most seamless and user friendly offline workflows in post, in my humble opinion. It’s been great to see DaVinci Resolve offer the same functionality, with even more granular control over the proxy or optimized files. There’s many articles and explanations out there of how this works in Resolve, this one from fstoppers is a short, but good description. Patrick Inhofer also has some great explanations in his course on Lynda.com, the DaVinci Resolve 12 Essential Training series. Because let’s face it, h.264 just sucks to edit. So optimize your media people. You’ll be glad you did!

 

More great stuff from #Resolve14, white balancing footage.

Here is a great article and video about white balancing in Davinci Resolve. The more I use it, the more impressed I am with the built-in toolset of Resolve. I’m becoming a big fan, and choosing to use it more and more with projects. Smart company doing smart things with their hardware and software. It would appear Blackmagic is positioning themselves between Apple and Adobe, and I guess Avid, for people who are not a fan of trackless editing (FCPX) and those not of fan of a hefty monthly subscription for their software (Adobe). It’s kind of rooting for the underdog, but when the underdog has so much to offer, they’re not much of an underdog in my opinion.

New Music Video Project Completed!

Here it is, fresh out of the edit suite as of last night, 1/27/2016! This was one of those projects that has taken some time to complete for various reasons, but I’m excited to get it out there, as is the artist, Wayne William. Take a look, then I have more below describing the nuts and bolts, for those interested.

 

 

Wayne lives in Malta, that tiny island nation in the Mediterranean just south of Sicily, and just north of Libya. He’s a full time professional musician who performs, writes and produces. He’s a very talented guy, and I’ve had the privelage to work with him making three music videos so far.

For this project, we worked with Patrick Boland from Honeytone Music. He has a studio locally where I live, and where Wayne occasionally comes to visit family. We shot the bulk of the footage in this great location, Patrick was extremely helpful and accomodating. Exterior footage acquisition ranged from the streets of Green Bay and Madison, WI, as well as some shots from downtown Chicago, IL, and Tucson, AZ.

I shot the footage on a Canon 70D, using mostly two prime lenses, a Pentax 50mm, and a Nikon 24mm. Both gave some really nice depth of field, and the quality glass really pushed the image quality of the 70D. I use a somewhat homebrew light kit, so nothing special there. I used a GoPro Hero 3+ for some of the studio shots.

A few of the shots involve motion controlled time lapse, and for this I used one of my favorite pieces of gear, the Genie system by Syrp from New Zealand. This thing is just so much fun to use for these types of things. Its a great combination of very well designed software and hardware, one of those tools I cannot recommend enough. Not every project calls for this type of work, but when time lapse is required, or desired, give this stuff a try, you won’t regret it.

Post production took place mostly in Adobe Premiere Pro CC 2015, time lapse processing was done in Adobe After Effects.

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The cut in Premiere Pro CC.

Color correction was able to be accomplished entirely withing Adobe Premiere Pro CC, thanks to the recent addition of the insanely robust Lumetri Color Panel in CC 2015. Very impressive set of controls now living natively in the editor, without having to go out to Speedgrade or other tools. Using adjustment layers for an additional amount of control was phenomenal, this has changed my post production workflow for the better.

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Color correction example using adjustment layers and Lumetri Color Panel.

The bulk of my work in production and post, outside of my role as an instructor of video production, is in corporate media. If you know anything about this, it can be decidedly un-exciting making training videos and tradeshow content. For the record, I’m NOT complaining, I absolutely love what I do! But its projects like this that really get me excited, that feed my passion for discovery and creativity in this visual medium. This has been a fun one, and I am personally pleased with the results.

RedShark News – The URSA Mini’s best kept secret?

RedShark News – The URSA Mini’s best kept secret?.

Blackmagic Design continues to push the industry forward. Camera’s, free software, etc. I did not make it to NAB this year, but have been watching closely to the new releases in hardware and software, and this is one of those companies that has consistently been fascinating to keep an eye on. So much stock is put into an “ecosystem” or “suite” of applications. It appears that Blackmagic may be taking that beyond just the suite of applications concept, and adding hardware to mix. The Ursa Mini is a pretty compelling piece of hardware, and it will continue to be interesting to watch over the next couple years. Perhaps this goes on my list for potential rentals for upcoming projects.