July 17, 2018

Premiere Pro v12.1.2 UPDATE NOTES (Enhancements & Bugs Fixed)

Features:

 

Formats Support/Enhancements:

  • Added support for exporting 8K H.264 format
  • Added support for exporting XAVC QFHD Long GOP 4:2:2 formats
  • Added support for Panasonic Camera Metadata

 

Performance:

  • Hardware-accelerated H.264 and HEVC decoding on MacBook Pro and iMac Pro machines with Mac OS 10.13
  • Hardware-accelerated HEVC encoding on Windows 10 with 7th Generation (or later) Intel® Core™ processors and Intel Graphics enabled
  • Performance improvements for decoding RED Camera Formats
  • Performance improvements for decoding Sony RAW/X-OCN Camera Formats

 

Bug Fixes (Highlights):

 

Stability 

  • Fixed: Crash when a Team Project is opened in After Effects that contains a Premiere Pro Sequence
  • Fixed: Intermittent crashes when updating comp edited in After Effects
  • Fixed: Copy & Paste a merged clip from one project to another could trigger a null pointer exception.
  • Fixed: Crash when changing audio channels on merged clips and loading into the source panel
  • Fixed: Crash when importing specific ALE files.
  • Fixed: Playhead hangs for ripple trim in trim mode with transmit and second monitor attached
  • Fixed: Import of AVCHD file outside of spanned folder results in period of not responding & audio conform error – Mac Only
  • Fixed: Creating edits for files modified from the Essential Sound changes, could trigger a crash
  • Fixed: Crashing issue with late-model Intel CPUs with the Lumetri Scopes panel (Windows 7)
  • Fixed: Crash when untrimming audio clip accidentally overlapped in imported Audition mixdown
  • Fixed: Closing Premiere after queueing a render could cause Adobe Media Encoder to crash
  • Fixed: issue with importing some ProRes file types.

 

Merge Clips

  • Fixed: Issue with Paste Merged Clip to another project. 
  • Fixed: Merged Clips can now be opened as sequences
  • Fixed: Issue with deleting search bin containing Merged Clips
  • Fixed: Issue with modified audio channels in Merged Clips.

File and format issues

  • Fixed: Issues with audio/video file importing, including H264 AV (Mac OSX 10.11) and ProRes
  • Fixed: QuickTime files with Alpha Channel flickers during Playback in Mac OS X High Sierra
  • Fixed: Import issue with some Elgato CFR, DNxHD OP Atom MXF, DJI HEVC files
  • Fixed:  Audio playback issues with Filmic Pro files when app is backgrounded.
  • Fixed: Error rendering with XDCAM sources in an MXF wrapper
  • Fixed: SLog-3 the colors now match Sony RAW Viewer
  • Fixed: Color shift issue with Cinema DNG file shot from DJI INSPIRE ZENMUSE X5R
  • Fixed: Some QuickTime-wrapped XDCAMHD 422 files are offline on Mac OSX 10.11
  • Fixed: iPhone H.264 .mov files captured via “Moments” import as audio-only

 

Markers

  • Fixed: Issues with Sequence Markers in Source Monitor, and Marker behavior between Timeline and Source Monitor, including multi-cam sequences.
  • Fixed: Markers issues when duplicating a clip or moving clips from to a new Project.

 

Projects

  • Fixed: Project Panel search bin is dimmed and is not enabled
  • Fixed: Project location switches to the temp directory when dragging sequences from Premiere Pro to Adobe Media Encoder
  • Moving a clip from one project timeline directly to another project timeline will create a Recovered Bin
  • Project and media files from Windows to Mac platform, if project/media files relative path is NOT maintained, all media files will show as missing when project is opened
  • Reveal In Project fails in some cases in icon view
  • If assets inside of bin are exposed during drag and drop from one project to another, duplicates are created if clips are in a sequence
  • Duplicates get created when moving merged clip from one project to another.
  • All track items will lose its custom color when they are moved to a different project
  • Project panel set to Thumbnail View, Reveal in Project does not work for file in unopened Bin
  • Reveal in Project does not highlight/select file
  • Drag & Drop folder structures between project will duplicate sequences

 

Captions 

  • Fixed: Open Captions decoding missing from decode list
  • Fixed: Incorrect positioning for imported EBU stl file with open subtitles
  • Fixed: Closed Captions STL issues with currency signs
  • Fixed: Export Caption XML uses non-specification conforming tags
  • Fixed:  Issues with creation and revision dates for Exported STL sidecar files
  • Fixed: Crash where user clicked “+” button on the Captions pane when all existed sub-captions are cleared by “-” button

 

Workspaces

  • Fixed: Issue where creating project after saving a previous project triggers New Default Workspaces dialog
  • Fixed: Workspaces save now correctly with the project
  • Fixed: Tools panel too wide in default Editing workspace preset (Windows only)

 

Audio 

  • Fixed: Audio tracks incorrectly display as muted, after re-opening a project.
  • Fixed: Volume issues when flattening some trimmed multi-cam clip with mono audio
  • Fixed: Issue where Auto Ducking keyframes could cause a crash 
  • Fixed: Issues with Render and replace audio only (MacOS)
  • Fixed: playback issues with some audio clips after exporting
  • Fixed: Audio Preferences changes not retained after relaunch 
  • Fixed: Audio Previews not saved to location specified.
  • Fixed: Default audio levels for XML roundtrip workflows and AAF exports
  • Fixed: Waveform display issues, including Multi-cam clips
  • Fixed: Issues with effects rendering for AAF 
  • Fixed: Issue with importing track volume keyframes in AAF files 

 

Playback and rendering 

  • Fixed: Artifact issues when using Video limiter 
  • Fixed: Interlacing artifact issues when exporting projects with OpenCL renderer
  • Fixed: Dropped frames when switching from Half Res to Full Res playback 
  • Fixed: Artifact issues with Kona 4 video I/O when sending HDR images to HDMI monitor
  • Fixed: Media Encoder now displays all LUT/Look options for rendering

 

Color tools

  • Fixed: Scale to frame size now generates correct aspect ratio for analysis
  • Fixed: issue where Color Match applied color adjustments to last keyframe
  • Improved: Color Match now only applies matching algorithms to visible part of cropped image
  • Improved: Reference images with transparency no longer show ghosted Current image
  • Fixed: issues with Basic Correction to HDR images used as Reference image for Color Match
  • Fixed: Ripple Trim Previous Edit to Playhead now displays correct frame 

 

General fixes

  • Fixed: Timecode issues with some EDL exports
  • Fixed: Start Screen objects and UI load.
  • Fixed: issue with missing fonts 
  • Fixed: Eyedropper tool works correctly with floating panels.
  • Fixed: Timecode entry beyond 24 hours

 

2:52 PM Comments (0) Permalink
May 13, 2018

(Video) What’s New in Premiere Pro CC v12.1 Spring April 2018 Update (NAB 2018)

 

8:35 PM Permalink
April 20, 2018

Premiere Pro v12.1.1 UPDATE NOTES (Bugs Fixed)

The following bugs are fixed in version 12.1.1 release of Premiere Pro (AME also updated):

  • Fixed a crash on launch in some cases when loading Cool Type fonts (these fonts are prevented from loading.)
  • PNG files containing Alpha are correctly displayed with the default interpretation of Straight Alpha. 
  • In some PNG frame sequence exports, frames no longer get mixed together (superimposed).
  • Application no longer hangs if you quit it after playback of Sony F5 RAW files.
4:06 PM Permalink
April 8, 2018

Dav’s NAB 2018 #1 Show Pick must have..

As I pack up and head out to NAB 2018 I’m actually looking forward to my 25th NAB show . Each NAB show has our field teams and booth teams busy coping files back and forth between our main booth , field laptops, and our partners who want to share their new tools and their project files. In the past this took all day just to get files copied and it also required stacks of small portable drives that we needed to keep track of who had them last. All of this was mainly due to one thing…transfer speeds .

Our typical Adobe Premiere Pro project folder size ranges from 12GB to over 40GB depending on native RAW projects vs Proxy projects or both RAW & proxy in one project . This NAB, I’ve found the perfect solution and it fits in my pocket – the new Thunderbolt 3 OWC Envoy Pro EX (VE)

This small 2TB bus powered Thunderbolt 3 drive packs the latest SSD (NVMe) technology and something you just need to see and use in person. I could just tell you that it has a sustained 2600MB/s per second that’s optimized for professional video production but my real world daily “on the go” tests are much more impressive to me.

It takes just under 20 Seconds to copy my NAB files (14.56GB) from my Mac Laptop to the Envoy Pro EX. Impressive no matter how you look at it. As I said seeing (& using) is believing.

 

On the setup side, OWC does a very nice job of making it easy while also giving techies like me full control over setup.

What next?

After NAB , I’ll be taking a closer look at the Envoy EX Pro’s big brother, the ThunderBlade , that’s about twice as wide and a little thicker (cooling fins) and packs up to 8TB of pure Thunderbolt 3 speed. So many uses come to mind from backing up 8K RAW files and my huge VR projects. I’ve using both these drives for several weeks and no question that OWC has set a new performance bar..

Here’s a quick peek inside the New ThunderBlade ..

Stay tuned..

12:58 AM Permalink
April 6, 2018

Premiere Pro CC2018 v12.1 April Release Notes (NAB2018)

(available for download as I write this)

Updates and new features include:


New Onboarding welcome screen


You can now learn more about Premiere Pro using the tutorials within the app. You can access learn content from two places:

New project screen
Learn workspace

 

New: Shot Comparison View


You can now split the Program Monitor display to compare the look of two different clips or the look of a single clip before and after applying an effect.

You can use this Comparison View in many ways, such as matching the colors between two shots or for adjusting the intensity of an applied effect such as a blur or film grain. Using the vertical or horizontal split allows the user to drag the splitter back and forth across the image to “onion skin” the differences.

 

New Lumetri Color panel options:

– fx bypass option – to temporarily toggle an entire effect on and off
– Reset Effect – to reset all effects for a single shot
– Custom LUT directory

 

New Auto Duck music


-you can automatically generate a volume envelope to duck music behind dialogue, sound effects, or any other audio clip.

 

New Updates to Motion Graphics Templates


-You can now browse for Motion Graphics templates easily using the Essential Graphics panel. You can search for templates that are available locally, in CC Libraries, and in Adobe Stock.

After finding the template you need, you can just drag it into your sequence – regardless of where the template is stored. The redesigned Browse tab also supports hover scrub to preview animations, favoriting Motion Graphics templates, and keywording for quick, intuitive organization, and searching.

 

New for VR/Immersive workflows

– Support for the Windows Mixed Reality platform HMDs
– VIVE HMD for OSX
– Improved performance for VR Plane to Sphere effect

 

Update for Team Projects

-Improved tracking for online collaborators
-easier project management
-ability to view read-only versions of your projects

 

New redesigned Timecode Panel

-you can now show new display options, such as In/Out, Duration, Absolute timecode, Remaining timecode, and Source timecode.

 

New Video Limiter Effect

-enables you to limit chroma and luma CHANGE TO RGB values to meet broadcast specifications. It can be used as a per shot effect while you are working with Lumetri Color, or added as an output effect to limit the entire sequence upon export.

 

New COPY and PASTE sequence markers

-You can now copy and paste full fidelity sequence markers when moving one or multiple clips, maintaining the same spacing as from where copied. All marker information such as color, notes, duration, marker type is preserved during copy and paste.

 

New Support H264 & HEVC Hardware encoding

-supports hardware-accelerated H.264 encoding on Windows 10 with 6th Generation (or later) Intel® Core™ processors and Intel Graphics enabled, and hardware-accelerated H.264 and HEVC encoding on Mac OS 10.13 systems with supported hardware. *Note* On supported systems, Hardware Encoding can be selected as an option in the Encoding Settings section of the Export Settings dialog. If the specified combination of Export Settings is not supported by the hardware, there is a fallback to Software Encoding.

 

New File Format support

– Importing Canon C200 camera formats
– Importing Sony Venice camera formats
– RED camera Image Processing Pipeline [IPP2]

 

IMPORTANT: Quicktime 7 era formats and codecs has been dropped

Adobe continuously aims to keep up with the most modern workflows and support formats and codecs broadly used across the professional film and video industry. As a result, future versions of Premiere Pro, starting with version 12.1, will no longer support legacy QuickTime 7 era formats and codecs. Professional codecs typically found in QuickTime movie files, such as ProRes, DNxHD, and Animation, are not impacted by this change. These codecs are supported natively in Premiere Pro.

To alert Premiere Pro users regarding this pending change, the most recent versions (12.0, 12.01) of Premiere Pro show a warning notification when you attempt to use a legacy QuickTime format or codec that will no longer be supported, starting with the 12.1 release.

More info here:

https://helpx.adobe.com/x-productkb/multi/quicktime7-support-dropped.html

New FIXES addressed in this release of Premiere Pro CC

Stability
-Crash while toggling RED Camera Orientation checkbox for attached source footage file

– (Mac only) Crash in Opencl_runtime

– Launching Premiere projects with certain VST3’s Audio plugin leads to crash on startup

– Crash caused by Metadata cache database when opening project

– Premiere Pro crashes when track items are deleted and previewed in HMD

-Crash when relinking file if Media Browser is in Thumbnail view

– Premiere Pro crashes while importing ALE files

– Auto Save for Project on unmounted drive results in multiple unknown error dialogs and may crash

– (Mac only) Occasional crash with Media Browser when unmounting an image (and possibly a disk)

– PProHeadless crashes at first launch

– Double clicking a timeline in the project panel opens up a timeline panel with no contents. This issue sometimes causes Premiere Pro to crash

– Crash when playing some files at 1/2 resolution

– Changing to Metal Rendering when Lumetri Scopes are open can cause Premiere Pro to crash

– Loudness radar causes non-reponsiveness with AJA io4k hardware

Corrupted VOB clip causes Premiere Pro to crash on import

Using Basic 3D effect with OpenCL/Metal can cause the operating system to freeze

Playback and performance

All frames are dropped on playback of an HEVC clip when playback is set to less than Full resolution

Opening some projects results in unexpected amount of memory allocation

Change Playback Engine does not automatically update cultist/render bar

File format support

4K DPX sequence causes memory leak in Premiere Pro version 12.0.1

On first import after install, MXF decode error reported with particular ARRIRAW MXF file

Some mov files do not use the native libraries

XF-AVC file( YCC , Canon Log 2) does not show Full Range in Lumitri Scopes

GH5 HEVC files are not able to import or play back

XDCAM-HD is not recognized if the CUEUP.XML file is missing from the file structure

R3D source settings cannot be turned off in the master clip effect

Some R3D files are not flipped automatically

XOCN master clip colour space change from Rec709 to Slog 2 or 3 does not work

Captions
Parsing captions while importing sample file causes file to display Media Pending message indefinitely

Changing caption parameters has no effect on exported stl file

MOV files with closed captions from Dalet import as Media Pending and do not display captions

Styling changes to captions (STL and SRT) does not update in timeline

Changing video settings for captions does not affect the font size

If you create long captions in the timeline using the New Caption option in the
context menu, the Captions Block Inspector does not create a scroll bar
Imports and projects

Editing clips between projects hangs Premiere while project is checked for duplicates

Metadata panel is active with read-only projects

Project alias does not open project in new window when using the Alt/Option+double click keyboard shortcut

Write keyframe mode is not preserved when switching projects

Multicam does not copy to another project correctly if component clip is buried in a bin

Open Project does not open closed Project panel tab

Media Browser does not update on computer 1 when you change in/outs on computer 2

Media Browser fails to display files from Studio Network Solutions network drive when mounted using AFP

Track Item label colors do not copy over to new projects

If multiple items are selected in Bin, Metadata panel only adds two entries of information

Editing and effects

Copying a new .cube file into Lumetri Folder breaks previously set LUTs

Morph Cut only allows Center on Cut

Resize mask function using the Shift + mouse drag does not work

Toggle select track and press W has different results

Clip Timecode settings auto-reset to Alternate timecode setting

Default transition duration opens incorrect pane in Premiere Preferences

Set Default Transition Duration from the Effects flyout menu goes to the wrong Preferences dialog

Transform Anchor Point is off a pixel in the xml export

Track Matte Key effect is broken when applied above any clip with a mask

Cannot slide numbers with Wacom tablet

Interpret Footage should be enabled for merged clips so Field Order settings can be edited

Track Fader hit area is off when fader is started at the lowest setting

Relinking source footage from proxy .mov to hi-res .mxf makes sequence tracks containing referenced audio can go off-line

Scopes have serious drawing issues

Disable master clip effects does not work on bins

Alt-clicking Write Keyframes in Clip Mixer not working properly

Esc causes Source View player issues on Mac and closes player on Windows
When you add metadata to multiple selected items, the metadata does not add to last clip

Saving a copy of a project and opening that project causes the existing project tab decoration to falsely display as bin

When you save a project using Save As or Save a Copy there is a break in Filter

Bin Content and Search Bin

Export and Render

Export is truncated when using newly deployed exporter preset

Using Time Tuner on video with R.128 loudness normalization causes segmented and flickering EBU .STL sidecar file

When you export media with the same name as a previously deleted file, Premiere Pro issues a message indicating that the same file already exists in the project

Encoding error when exporting MOG files to MXF Op1a AVC-Intra 100

Low-level exception error occurs if you use the Pixel Motion Blur effect causing render failure.

Encoding error on some mp3 files

Unable to export or process Barco Escape ProRes444 with data burn to Vimeo mp4

Interoperability

When you copy/paste clips with audio from After Effects, Premiere Pro does not copy more than first second of clips

Replace with AE Comp gives a darker composition

High sample rate audio sent to Audition comes across as the wrong sample rate
Audio

Distortion or garbage in audio when exporting AAF files

Flattening multicam clips resets the audio to unity (zero dB)

Audio Track Mixer Latch/Touch automation modes sometimes fail and switch to Write mode overwriting automation keyframes

Noise artifacts are heard in stereo audio clips that are placed in Ambisonics sequences when Binauralized monitoring is used

Peak files are missing their extensions on Windows 10 with MXF files
Adobe Immersive Environment

Only one of the HMD hand controllers works with Mac systems

A low-level exception occurs if you attempt to preview an audio only clip when the Adobe Immersive Environment is enabled

Mac Premiere transmit to HMD from the Source Monitor produces a garbage frame or two when the Paused Resolution and Playback Resolution are set to different values

Loud garbage plays back if you attempt to preview Ambisonics audio, that was imported as Mono 4 channel, with binauralization enabled

Changing the color of a track item fails to automatically get reflected in the HMD timebar

The name of a sequence on the HMD timebar does not get automatically updated after you make an edit to it

The HMD Timeline’s Zoom bar, at fully zoomed in position, becomes very difficult to move. Attempts to move it usually result in changing the zoom scale instead of scrolling the view.

When the HMD Timebar has content three minutes or longer the Zoom control bar cannot zoom in enough

Unable to scroll the HMD Timebar view during playback

Clicking on an empty part of the HMD Timeline’s Zoom bar well fails to scroll the Timeline view

The HMD Timeline’s Zoom bar setting does not match the timeline display after you switch to a new clip

The HMD Timeline’s Zoom bar art gets truncated when at fully zoomed in position

The hit spot for adjusting the start or end point of the Zoom bar in the HMD Timeline is too hard to access

Premiere Pro transmit to HMD is extremely slow to initiate on Mac, and sometimes it fails to work at all, after the HMD has been in Stand-by mode

Offline track items fail to appear in the HMD Timeline as red

IN and OUT markers that are set in the Source Monitor fail to appear when viewing the HMD Source Monitor Timeline

The Track Head-Mounted Display option for the Program Monitor toggles off when you switch to a different sequence

If you move the CTI right after jogging, audio previews for a couple of seconds and then stops

Extending the Jog command swipe of the hand controller beyond a 180 degrees messes up the HUD display and haptic feedback

The HMD Timebar fails to highlight the time ruler after just an IN or OUT marker has been placed

VR properties added to a clip that is already in the Source Monitor does not enable HMD viewing

Premiere Pro cannot open .mp4 files generated by JauntVR’s tools

Other

Translation and other localization fixes

Miscellaneous UI fixes

5:52 PM Permalink
February 14, 2016

What’s new in the Premiere Pro CC 2015.2 Update

Premiere 92

This update provides a number of bug fixes reported by users (these are listed below) that we’ve addressed (many thanks to those of your that submitted bug reports) .

In addition to the bug fixes , we’ve also added a new Feature found under the “Wrench Menu” on the Program or Source Monitor that when you Toggle it on the new High Quality Playback setting can provide a smoother viewing experience, where playback better matches the image quality of frames when paused. High Quality playback may result in dropped frames depending on the media and hardware configuration, and most users will find the default settings are still the best choice for real time playback.

 

HQ playback

Fixes in Premiere Pro CC 2015.2 address the following issues:

* Adobe Stock and CC Libraries could not be used by users who connect to the internet using proxy servers.

* Premiere Pro could not launch on Windows systems with AMD Phenom 2 processors.

* Users of Wacom tablets could experience interface lag.

* Multiple fixes with Adobe Stock support.

* Dissolves displayed incorrectly on OS X El Capitan when working in CUDA mode.

* Crashing issues when Warp Stabilizer re-analyzes.

* DNxHD MXF import sometimes failed.

* Titles could not be imported via the Import dialog on Mac.

* Playback could stop when audio input was set to digital on Mac.

* Synchronizing by audio waveform could give inaccurate results.

* Double clicking a clip or sequence when the Project panel is in icon mode did not open the item.

* Soft Subclips could appear with black thumbnails in the Project panel.
Rendered files sometimes did not maintain sequence start time.

* A crash occurred with importing .wav files from Fostex DC-R 302 recorders.

* Moving the info panel could cause a crash.

* AVCi100 OP-Atom MXF files from Avid displayed incorrectly.

* Audio drop-outs occurred on export.

* The final frame of a nested sequence displayed incorrectly when using optical flow with GPU enabled.

* Merged Clips could become corrupted when round-tripping via FCP XML.

* PSD files caused Premiere Pro to stop responding when closing a project.

* Live Text Templates with more then one parameter often lost render previews.

* Sync Settings did not respect system proxy settings on Windows machines.

* Specular highlights corrupted when exporting to non-PQ J2K files in HDR workflows.

* Merged Clips dropped into a sequence were unlinked.

* Premiere Pro project names incorrectly permitted the back and forward slash characters.

* Render files did not travel with transition and analysis data.

* Text layers in Live Text Templates displayed with jaggy edges.

* XML files exported from FCP 7 could show as corrupt sequences.

*Incorrect fonts were displayed when importing an XML from Annotation Edit software

*Reverse playback could occasionally not work.

*Panasonic 50i/60i .mp4 and .mov displayed incorrectly.

*Premiere Pro crashed if the preferences folder was set to be read only on Mac

*Exporting to QuickTime with MPEG-4 Enhanced Low Delay Audio could result in an Error Compiling Movie dialog.

*GPU playback and rendering failed with sequences containing the Track Matte effect.

*The About dialog showed an incorrect version number.

*Crashing could occur with AJA 12-bit HDR output in software mode.

*IMX 30 full-frame anamorphic exports were incorrectly exported as 4:3.

*Several situations where crashes could occur have been resolved.

4:18 PM Permalink
November 24, 2015

#1 Technology Pick for 2015 – LG OLED 4K HDR

LG_Electronics-643372158-HE_65EG9600_1

It’s that time of year again to look back and see what 2015 bought us in terms of technology that enhances the ever changing video production workflow and experience. In 2014 I talked about UltraWide displays taking over the video production desktop and no question I’ve seen them everywhere as I traveled around the globe this year. While there are several high quality models of these 34” wide displays on the market from various manufactures, no question that the LG models still stand out to me with their onboard Thunderbolt which helps us in our daily workflow with so many add-on Thunderbolt benefits ranging from portable storage to 10Gig Ethernet adapters and more.

For 2015, I once again look to what’s changing in our world of high-end video production. We all know 4K/UDH is here and available at various price points that attract buyers at all levels. But honestly, 4K for me is not enough to change my personal TV viewing habits. I’ve been working daily in 4K and even some 8K for a while and for the past few years we have narrowed down many of the 4K – 6K resolution challenges. These once complex high-end workflow pipelines are now fairly commonplace in many video production houses.

We all knew that High Dynamic Range color (HDR) is coming and as you can imagine working for a company like Adobe Systems (20 years now), I’ve been working with HDR in one form or another for many years. If you are new to HDR for video, in simple terms, it’s higher contrast/brightness and more accurate color that deliver a more “real world” experience. For years, I’ve worked with extremely high-end proofing displays and often wondered when/how would we get that quality delivered to the average consumer for everyday use. My peers and I would discuss these questions as they would range from the obvious workflow pipeline (moving huge files in/out of production) to content delivery to the consumer.

I’m here to tell you – 4k HDR is here, it’s real, it’s now, and I’m hooked.

HDR On 206

For the past several weeks, I’ve buried myself into the latest 4K & HDR technologies. As with any new technology you need to look at what will drive the change. Or – why would anyone spend money on this?

Whenever new TV technology comes out, it usually requires you spend a lot more money to buy additional items to get the full experience. These include things like expensive media players or worse, special 3D glasses that only work with that particular TV set and so on. For the record, I still dig good Stereo 3D content, but lets face it, it’s not really an everyday thing and it’s more or less a fad that had it’s time. I consider it more as a special event technology.

4K and HDR is anything but a fad. The sheer difference in image quality will leave in you awe. If you are new to 4K, you’ll quickly see that the image looks great when you are really close to the TV. This is completely opposite from your current experience with many LCD or Plasma sets which looks better from about 6-8 feet back. With 4K/UHD resolution sitting about 6-8 feet back from the TV it still looks great but any further back and you will quickly see that it starts to lose it’s effectiveness.

HDR 2020 432

With 4K and HDR content your experience is completely different. The image is strikingly better no matter how close or how far back you are. The simple reason for this is the new color space it now offers the viewer. I could go into a deep explanation of current TV standards known as Rec709 and switching to newer standards like Rec2020, but all you really need to know that the image is so different and more true to life, you’ll be hooked at first glance – guaranteed.

What about content? This was my first question when I started reviewing this technology. We all know to well that “Content is King” for any kind of mass adoption. As you can imagine, at first, I had lots of questions: What’s required for the full experience? Will I need to buy another media player? If so, forget it… I have too many already.

WOW, was I surprised when I started to look for HDR content. There is already HDR content ready to stream to your TV and no “extra” media player is required to view it as it’s all built in the Smart TV and ready to use.

Companies are already fighting for your “eyes on screen” time as there is simply too much video content to absorb in one day. The video production world is quickly ramping up and learning newer and faster ways to work with HDR as one sure way to get more eye on their screens.

People are always looking for new ways to see, experience, and share video content. I see HDR as hands down a clear winner for new content technology that will quickly evolve. If you remember the first time you saw HDTV vs your old TV , HDR will leave you with the same feeling.

Amazon HDR 505

What’s changed for content delivery in 2015 – 2016? As you might recall, previous advanced tech like HDTV or worse 3D, usually was centered around sports or specially video like nature shorts. Currently for me, Amazon has been the HDR destination place and they have some great new content with more coming. I’m currently hooked on a new show called “The Man In The High Castle” which is beautifully shot and breathtaking in terms of the total picture immersion experience. Tip- HDR really stands out in this series starting with episode 3 when there are brighter shots outside the city. Amazon has several other HDR series as well as movies. No question more are on the way and other media delivery/broadcast companies are taking note.

What makes it different and do I buy now or wait?

With HDR, for me it all comes down to the power of light and how to control it. How black is the black and how pure is the white? These are the image basics for great and accurate color. Hands down OLED is my current technology of choice. Once you see the difference between the various technologies it’s a no brainer.

Again, it’s all in the power of controlling the light. Here are 2 TVs showing LED vs OLED. There is virtually no bleed of the white light. In simple terms pure black is produced by turning off the voltage at the pixel level. You’ll quickly notice when the TV goes to pure black it looks as if the TV is completely turned off. Another bonus… OLED also draws less power compared to other LCD & Plasma technology and is razor thin and light weight.

LED vs OLED_3 900

 

LED vs OLED_7 900

 

sideview

While there are several companies making OLED TVs available, LG clearly as a company that is committed 100% to bring this technology to the home. They are basically putting all of their efforts in the OLED space and helping to bring the cost down to affordable levels for the average consumer. As with any new technology, it does come at a price when it first rolls out and settles down after several months. If you are looking for a long-term TV now rather than replacing your TV every few years then take a look at the new LG OLED HDR TVs. Your best bet is aim higher and keep the set longer and enjoy the new content as it rolls out.

webos2

Back to Content Delivery…LG has built their content delivery on webOS 2.0 . You might remember this technology from a few years ago from cell phone maker Palm Inc. and later sold to HP. In 2013 LG acquired WebOS from HP and it’s now part of the growing LG family of advanced technologies.  LG’s WebOS 2.0 for SmartTVs now includes even more powerful features in it’s software development kit making it a solid and fast technology to build a content delivery playback platform.

 

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I reviewed lots of SmartTVs over the years and one thing always stood out…the built-in apps are too slow…. This includes many set top boxes that all had access to various Content Apps – all too slow… The webOS 2.0 App experience on the LG TV’s like the Curved 65EG9600 and the standard 55EF9500 is blazing fast. There are also additional free Apps you can download from the LG Content Store.

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For quick navigation, LG also provides a very simple remote that acts like an “Air Mouse” making application switching a breeze. You can quickly jump from 4K YouTube to Netflix or Hulu to Amazon HDR with a simple point and click just like your desktop or laptop.

What’s next in my HDR workflow testing for 2016? I’ve added LG 55EF9500 OLED display to my current editing suite and so far I’m very impressed with the result for 4K preview – actually it’s stunning. I also use a LG Curved 65EG9600 for viewing online content via the built-in webOS 2.0 as well as a 4K ready TivoBolt matched with a Yamaha RX-A1050 AVENTAGE 4K HDR receiver – Yes, I’m all in……

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Lastly , what about HDR preview in Premiere Pro CC ? I’m currently beta testing some new and some unreleased computers with the first HDMI 2.0 on board display output with new HDMI High Speed 18Gbps transfer speed, 4K @60, 48-Bit Deep Color, and Audio Return Channel (yes, to get all of the advantages of these new displays you need new cables  – look for Media Bridge $10.00 twin pack cables on Amazon) The goal is to see how/if we can use OLED technologies and HDMI 2.0 with 10bit/12bit color HDR workflows for desktop preview. I’ll also be looking for adapters to bridge SDI to HDMI 2.0 to carry those signals at CES 2016 for 3rd party I/O cards that currently offer 4K HDR over SDI.

4 8 stars

 

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For now – well done LG on your successful rollout and commitment to OLED.
Only one small complaint keeping it from 5 stars … No Skype on webOS 2.0 and I use Skype a lot in my studio. Let’s hope that gets addressed.

More to come…

1:04 PM Permalink
September 7, 2015

Top Technology Pick: High Point Technologies

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One of the challenges I face quite often in my ProVideo testing lab is the ever changing hardware that arrives on a regular basis. While it sounds awesome (let’s be honest – it is…) , it’s also a challenge  – as we all know in the real world we need to keep those older high dollar investments up and running as long as we can. I get these types of questions on how to keeping older tech updated  all the time.

One clear example of this $$$ investment is storage. As man you of you know, I have always been a fan of the Gtech ES Pro line of SAS drives. They are blazingly fast, very reliable, and in heavy use by video professionals world wide. I’ve had my pair of ES Pros with 8TB of storage running pretty much everyday for years without a hiccup. For many of those years it was the only real way to get the speeds I needed for true 4K editing on a Windows or mac based computer (Remember that PC Windows Dual Xeon Workstations did not really get Thunderbolt2 until mid-2014 and SAS was and still is a solid performer) .

Once companies started to offer Thunderbolt 2 add-on option cards for Dual Intel E5 class Xeon processor workstations like HP’s Z 820/840, Dell Precision 7910, and Lenovo’s P900, things got a little tricky in terms of keeping those SAS drives going at full speed while taking advantage of new technologies like Thunderbolt2. For the past 12 months or so, I have been testing some add-on gear to help solve this problem.

Why so long before recommending it?

I wanted to insure its reliability and overall performance for the long haul. The desktop I’ve been using in my most recent stress tests over the past 6 months as been the Dual Xeon equip’d “tricked out” ThinkStation P900 with a M.2 Boot SSD module, 128GB RAM, NVIDIA GeForce TitanX,  and Thunderbolt2 option. With the proper storage speeds as I’ll discuss here,  it edits 4K & 6K with ease.

Lenovo TB2 with RockStor

The best solution I could find to solve the challenge from a price/performance standpoint was High Point Technologies RocketStor 6328 Raid adapter (priced at about $675.00) . With its Dual SAS Input connection and Thunderbolt2 I/O it gave me the speed I needed to keep the raided pair of Gtech ES Pro units up and running at full speed (about 650-750 MB/s) . Installation was a breeze. Just  load the Windows 7/8/10 Thunderbolt2 RocketStor driver and connect your SAS cables to the RocketStor 6328 Thunderbolt2 storage adapter and watch your drives mount. *note* HighPoint recommends that you back up your SAS drives before you proceed with adding the RocketStor 6328  adapter . I had no issue as my data was intact after the upgrade and still is as of this day. For the record, OS X users can also take full advantage of the RocketStor 6328.

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One reason that my data was still intact and no need to format  might be that the original G-Tech SAS card that came with my ES Pro drives was in fact made my HighPoint Tech (If you have one just look at the SAS card) BUT AGAIN, be careful with your data and make sure you take the proper steps to insure that you are covered if you need to reformat. If you don’t need the data on the drives or can back them up , then I would HIGHLY recommend formatting the drives to have a solid fresh start on the new raided drive set. I will admit, that the HighPoint Web UI takes a little  getting used to for Raid management but has everything you’d expect to see in a utility like this. Setting up the unit for RAID 0,1,5,6,10,50, or JBOD was straight forward.

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For people just wanting to add Windows 10 compatibility and wanting to stay with a SAS card (many older SAS card drivers won’t work reliably on Windows 10), you can now just replace your older SAS card with the new RocketRaid 4522 (priced at about $599.00) which still gives you a full 8 channel PCIe 2.0 connection to 8 SAS/SATA drives with 6Gb/s hardware RAID. With 512MB DDR3 Cache and Thunderbolt aware (for TB chassis use) it’s my top pick for a new SAS card. (Also supports OS X) The RAID modes are basically what you would expect from any high-end card – RAID 0,1,5,6,10,50, & JBOD. Speeds are great…. (750MB/s in my tests on SAS equip’d ES Pro drives – 2 pair of 4 drives , 8 total)

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I also wanted to point out a few other cool technologies from High Point Tech that I use on a regular basis. The RocketStor 5212 dual bay Thunderbolt powered docking station for 3.5” & 2.5” HD/SSD’s is something I use nearly every day in prepping drives for various machines (6Gb/s channel for both drive bays) . Compatible with any Mac or PC with Thunderbolt

Highpoint dual bay

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Recently, I received a RocketStor 6414AS drive enclosure (mini SAS connection) paired with a RocketRaid 4522 card mentioned above as well as the new RocketStor 6314A Thunderbolt2 Raid enclosure and both units have been up and running non stop for about 45 days or so and no reported issues. In short, these enclosures allow you add your own drives (I usually get matching drives from AMAZON or reuse  older matching drives) and build out a RAID system based on your specific storage and speed needs. Both units support, SAS, SATA, and SSD drives. For 4K editing I highly recommend a total of 8 drives on a hardware RAID card or Thunderbolt 2. This will insure that longer projects load quickly and give you the playback performance needed. You can pair two 4 bay units or Highpoint also offers a full 8 bay rack unit like the Rockstor 6424TS or even a 16 bay unit like the RocketStor 6424TS

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If you are new to High Point Technologies you can find out more here : http://www.highpoint-tech.com

 

5 Stars copy

DAV TechTable Top Pick

5 out of 5 stars on the Rockstor 6328 

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8:21 PM Permalink
April 8, 2015

What’s new for Premiere Pro CC at NAB 2015

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As you’ll see, Adobe ProVideo engineering has been busy. The features in this release are simply amazing and totally fun. I should take the time to thank many of you that submitted feature requests, bugs, and general comments on what’s working and what can we can improve. User feedback that end up as user features is truly what makes Adobe Premiere Pro different than other editors and Creative Cloud just gets you those user suggested features delivered faster than ever.

When you launch the new app for the first time, you’ll see a new Welcome Screen as well as an updated cleaner look to the user interface.

Copy and paste this Link  to view the video:  www.youtube.com/watch?v=O1clWi4hta4

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1. New Color Workspace: now includes the Lumetri Color panel
As many of you know, Lumetri is the color engine that powers Adobe SpeedGrade and it’s now integrated into Adobe Premiere Pro CC in a new more “creative way”. The idea is to adjust color as you go during the editing process. I like to call this “color editing” . While the new Color Panel is very powerful and will satisfy most users need for complex color work , we wanted to be careful not to confuse Color Editing with Color Grading with specific grading tools like Adobe Speedgrade and others.

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2. Task Oriented Workspaces
You can now toggle between new workspaces that are optimized for the task you are doing. You can manage toolsets and options. One example is the new “Selection Follows Playhead”. This is turned on by default in the new Color Workspace as it will automatically select any clip that the playhead touches.

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3. New support for Premiere Clip work flows
Now you can shoot and rough cut on your smart phone/tablet, sync with Creative cloud, and if needed finish the work on your desktop with the new tools in Premiere Pro CC.

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4. Morph Cut
This is a perfect tool for cutting together interviews where you have a locked down shot,  still background, and when your subject looses their train of thought and goes silent or they talk on you now have a new tool that allows you to cut down the interview tas needed. The problem has always been how to cut and transition between segments without a huge “jump cut”. This new tool will Morph the 2 segments together. You just have to try it to understand it… It’s mind blowing.. You will need to spend time with it to understand when it will work and when it won’t . Audio can be an issue as you can’t really Morph audio the same was as video.Take a look at the video link to get a better idea.
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5. CC Libraries & Project Candy
Now you can share Looks and Luts and other assets from the new Library Panel which sync with Creative Cloud. You can also share assets with other team members. Project Candy is a new iOS app for creating .Look files from your smart phone/tablet. The captured Looks sync to your Library folder and appear instantly in Premiere Pro CC and AfterEffects CC.Once synced , you can apply those .Looks to any clip.

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6. Time Tuner
This is a new tool for the Export workflow where duration of the exported movie is critical. We do this by adjusting the length of your video by automatically adding or removing frames at scene changes, in sections with still images, or low visual activity, or during quiet audio passages. No more manually “micro editing” to reduce time. This is a perfect solution for broadcasters needing to make room for ad insertion. This is another new tool that you will need to experiment with as adjusting the video to anything close to 10% tend to be noticeable. I find 6-8% is the “sweet spot”.

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7. Mercury Transmit Performance Improvements 3rd party I/O
Significant performance improvements to Mercury Transmit mean users of third-party I/O hardware for monitoring will experience increased responsiveness and improved playback reliability. We have worked closely with AJA, Matrox, BlueFish , and BlackMagic on these performance gains.
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8. Closed Caption (CC) improvement
One common request I got all the time was to support “Burn-In” for closed caption. While Premiere Pro CC is well known for its simple Closed Caption workflow, this opens up the workflow for other uses . This also makes it easy to review CC on non-CC enabled hardware.

9. Expanded format support
Premiere Pro leads the industry in native format support, now including  Canon XF-AVC, Panasonic 4K_HS, JPEG2000

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10. Support for Windows touch devices like the MS SurfacePro 3 and the new Dell m3800.
This is our first steps towards a more touch-friendly editing experience, allowing editors with hybrid devices to easily do things like move clips in the timeline, scrub the playhead, and manipulate color parameters directly by touching the screen. The work is just beginning and we will want to hear from our users as we go through the design process. I find myself using touch a lot more than I thought I would. I think it’s due more to the daily use of our smartphones/tablets as you just instinctively touch the screen. I find this more useful when I’m reviewing a timeline with an other editor rather than actual editing. I should point out that we are also being careful not take away any part of the editing experience that are 100% keyboard driven or clutter up the UI. Let us know what you think as comments are always welcome.
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11. Audio workflow improvements
You’ll see that we added a faster voiceover record setup and much easier audio channel mapping, improved multi-channel export, and a more consistent Audio hardware setup. We’ve also done a fair amount of work with AAF for DAWs (Digital Audio Workstations ) for tools like Adobe Audition and ProTools.
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12. New Source Settings workflow for RAW media
Now you can access the RAW source settings in the MasterClip Effect section of the effects panel allowing you reset any parameter quickly and easily.
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13. Hot Text now uses Up/Down Arrow
OK, this one is HUGE for me. In the Effects Panel or new Color Panel you can now click on the value and adjust it up/down using the arrow keys. You can hold down the shift key to adjust by 10 or Cntrl/Cmd key to adjust by 1/10.

9:01 PM Permalink
February 2, 2015

My Little 11″ MacBook Air …

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I have to admit that I really missed carrying my 11” MacBook Air (2012 model) with me on my travels. The internal SSD was just getting too small to demo our apps with all of my demo files and I basically was using it less and less. With my huge 4K and 6K demo files , I had to use an external drive which worked fine but really took away from the cool factor of this tiny but powerful computer that not much bigger than an iPad. – and yes, with Premiere Pro’s Mercury playback engine , even the MacBook Air with 1GB Intel OpenCL graphics can edit 4K & 6K video…..

As my good friend Terry White (http://terrywhite.com) and I have known for years, OWC understands our “Mac upgrade” pains so well. With a quick click over to the OWC website, I quickly found exactly what I was looking for – a 1TB internal drive SSD module which is actually larger than my current 15” Retina MacBook Pro @ 750GB .

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The hardware install part of the upgrade took me less than 5 minutes . OWC even has a full online installation help sections with video “Walkthru” guides and phone support if you need it. What also makes this the perfect and easy upgrade is that they have really thought of everything . They give you both Torx drivers. These are also fairly high quality Torx drivers that you will actually want to keep after the installation. These quick pictures show the process.

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The old 512 internal SSD model would be useless in most cases relegating it to a drawer somewhere, but OWC also includes an Envoy USB 3.0 sleek looking case that matches the side profile of the MacBook Air to re-use the proprietary memory. You even get rubber feet to hide the screws and a small black velvet slip case to keep it looking shiny and new.

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Using the BlackMagic Disk Speed Test, I ran a speed test on the external memory and I got 387 Mbs on the Read and 320 Mbs on the write

Speed Disk External

If you are curious the internal memory module got an impressive 516 Mbs Read and 426 Mbs on the Write. – wow is all can say…. This Tiny 11″ is now back in my Laptop Bag !!!

Internal test

5 out of 5 stars on the TechTable….

5 Stars copy

5:37 PM Permalink