Posts in Category "Uncategorized"

January 8, 2015

My #1 pick for 2014

LG Desktop


As many of you know, I review a ton of gear each year and I often get asked which piece of gear I found most useful for my daily work and which piece of gear would I most recommend that people consider adding to their workflow and why…

In past years, my pick usually involved getting better pictures from cameras but this year we saw our share of some great new tech for the video professional. Gimbals like the DJI Ronin and smaller units like the iKAN FlyX3 but the one item that stands out the most to me and one I recommend to clients several times a week is the new line LG 34” super wide  displays . LG actually calls these “LG UltraWide” which is more accurate description.


Why a display? For starters, it’s more than “just a display “, it’s a well thought-out 21:9 display with a Thunderbolt 2 dock built in! With one cable I can connect my Thunderbolt desktop or laptop to the display and get all my necessary connections as well as unbelievable desktop space for editing. As you can see from the picture of my busy desk , I have a lot going on as I have 4 editing systems in my editing bay ranging from OSX , Windows 8, NVIDIA , and AMD GPUs. This set up actually allows me to do bench marking as well as answer questions from customers based on different configs.


In the past it took 3 monitors connected to an expensive Gefen Display Port 4×4 KVM switch and a ton of cables. As many of you know, it’s very common to run 3 displays in order to get the real estate they need to organize their work. With the newUltraWide LG’s , you can actually reduce those down to two displays- one for editing and one for 4K preview. For me, it also provides a wider timeline view without the need to keep switching resolutions back and forth. The key benefit on the technical side but only using 2 displays you are saving GPU processing resources by only needing to “push” 2 displays rather than 3 (less pixels to refresh) . As many New Mac Pro users now know, having too many displays on your system taxes performance on the AMD D500 or D700’s and understanding the 3 different Thunderbolt Buses is critical to the New Mac Pros performance. With the newer LG 34”UltraWide , you can rest easy with less configuration headaches.

I started using the 34UM65 Thunderbolt 2 displays in early 2014 and quickly found them to be the answer I was looking for. I tried using a single 4K display as well but editing on a 4K display requires more GPU to access the 4K real estate and you still need a 2nd display for full screen preview. As LG figured out, the simple answer is width not height.

LG quickly followed up with their Curved version of the UltraWide display 34UC97 which is what I now use daily – I can honestly say that the best just got better….

LG Desktop copy copy

New Mac pro Z820

As you can see in the picture above, There are 2 UltraWide displays on my editing desk. One for my HP Z820 (now with Thunderbolt2) and one for my New Mac Pro. Each editing platform has a matching 4K display for 4K preview as well as additional workspace.

One cool thing about Premiere and using multiple displays: whenever you jump out of Premiere (say to your desktop) , Premiere will release the full screen preview and present your expanded desktop allowing for additional workspace. Again , using only 2 displays. Tip: you access these settings in the Preferences>Playback>Video Device area (also known as Mercury Transmit

A few things to point out: The new LG 34UC97 and the previous version allow you to connect 2 computers and split the screen to a single display. This might be handy for people that want their laptop and desktop or Windows and Mac systems available at the same time with out needing a switcher. If you are a Windows 7/8 user , consider getting a newer PC  system with Thunderbolt 2. I have a single connection from my HP Z820 to the LG and it works great. Of course this is the current norm for Mac users already it’s just great to see HP, Lenovo, Dell, Gigabyte and others supporting Thunderbolt 2 as well.

If you have a system without Thunderbolt, you can still use the Displayport and HDMI connections. The good news is that you’ll have a Thunderbolt 2 ready display for your next system upgrade. I routinely recommend this display for users still wanting to use their older Mac Pros with a newer NVIDIA Cuda card or AMD card and needless to say, it quickly became their favorite upgrade as well.

If you plan to buy a 4K display as well , I would also recommend the LG 4K (31MU97) IPS display as a companion to the UltraWide display as the IPS colors are fairly close to each other. Always nice to have displays that match.

I also just got back from CES 2015 and there are a few other 21:9 displays but none have Thunderbolt 2 which again is not a must but nice to have the option.

A note for RED Dragon 6K users – This 3440×1440 display also provides an excellent playback display when used with RedCine or Premiere Pro CC 2014. Just set playback to ½ resolution and let the GPU take over and you’ll see what I mean. The IPS colors are truly amazing for this price point. This display should hold us for a while until true 6K display’s or 8K displays come within reach and I’m sure LG will have something for us.

What’s missing? Honestly, the only thing I would add to this display is an Ethernet port.  For now, the problem is easily solved with a $20.00 USB 3.0 to GigE adapter that you can hang off the back of the display. I use the Cable Matters one as it’s OSX 10.10 and Win 8.1 compatible – here’s the Amazon link.

That’s my 2 cents……


four_half-stars_0 copy

I can easily give this display 4.8 out of 5 stars  – hats off to the LG engineers…


9:51 PM Permalink
September 10, 2013

What’s New in the Oct 2013 Pro Video CC releases

Oct releases

What’s New this month – A lot !!

Premiere Pro 7.1
Speed Grade 7.1
After Effects 12.1
Adobe Media Encoder 7.1
Prelude 2.1


So many things to cover on the latest CC updates for the Pro Video apps. As you’ll see, the Pro Video team has been extremely busy to deliver user requests , bugs, and looking towards the future of our video apps. This cycle had “All Hands on Deck” or should I say, all Adobe Pro Video engineers had “All Hands on Keyboards” coding throughout the day and night.

A few of my favorite things to call out in these releases.

Premiere Pro 7.1

1. Support for Cinema DNG format for cameras like the BlackMagic Cinema Camera

2. Editable Sequence Settings

3. Rippling Sequence Markers
4. Sequence Hover Scrubbing in Media Browser and Project Bin
5. Better 4K playback performance for cameras like the Canon 1Dc and new support for the RED Dragon 6K & Phantom.
6. Improved Workflow between Premiere and SpeedGrade NEW DirectLink !!

After Effects 12.1
1. New Mask Tool – Mask Tracker
2. Anywhere support – Early Access
3. Additional GPU support – same as Premiere Pro CC (any card with 1GB can be turned on)

Adobe Media Encoder 7.1

1. Water Marking on output
2. GPU Support

I know I already said this for the 7.01 releases back in July, but again, I’ve never seen anything like this set of new updates. They are really more like new releases than updates. I’ve already seen what’s coming next and I can assure you, it’s a crowd pleaser and clearly defines the difference between where we were and where we are going. It’s all about innovation lead by user requests.

I hope our users clearly see a pattern here. Our engineering teams now have the freedom to get new features and enhancements in front of the people that need them NOW. As I said in the last blog entry, if you want to be more proactive in feedback requests, you can use the Product Improvement Program feature built in all of our applications under the Help Menu. We really do read these comments daily.

Here’s a New Video featuring working in full 4K resolution on a 4K display

The video features some new gear from HP that I’ve been testing in the lab for the past few months.

The first is the New fully redesigned ZBook workstation Laptop with THUNDERBOLT (finally)  –

click any of the images to watch video


and the MOST IMPORTANT thing (& the one I’m most excited about) , a new Thunderbolt option for the HP Z820 & Z620.

Thunderbolt Z820


This means that you can now have a Workstation with Dual Intel E5 2620 processors, 512GB RAM, Internal 4 drive raid, Blueray drive, choice of video card like the NVIDIA GeForce 690/Titan/ Quadro K6000 w/12GB RAM, Atto Raid card, RED Rocket, and THUNDERBOLT for sharing TB devices and drives. Wow !! – and all from a single desktop tower and one AC Power plug !!

The new workflow where using a Laptop that can edit 4K rough cuts on set via Thunderbolt storage like the Promise Pegasus series or the new G-Tech EV series and sharing that drive on your Thunderbolt equipped Z820 makes the workflow more like older firewire 1394 based workflows. Hint: You can format these drives to work on both Mac & Windows giving you even more flexibility with our apps (ExFAT). See further down the article on how I do this …

Special thanks to our friend Devin Graham (aka Devin Supertramp) for use of his 4K footage.
Click on his YouTube header to see some of his work Yes I’m hooked and I admit, I’m a subscriber …….

Premiere 7.1 Feature list

1. Direct Link to SpeedGrade: Open Premiere Pro projects within SpeedGrade for color grading work, and send them back to Premiere Pro with color corrections and looks applied for continued editing.

2. Streamlined Editing: Improving and streamlining everyday editing tasks and workflows to enable editors to work faster. New monitor overlay allows editors to see key data such as time code and camera angle overlayed onto media during playback.

3. Expanded Native 4K, Ultra HD and RAW Formats: New native file format support for Cinema DNG, Sony RAW, Phantom Cine, Canon RAW, improved MJPG from Canon 1DC, Sony XAVC Long GOP, Panasonic AVC Ultra (Long GOP), 64 bit ProRes decoding (Mac OS X 10.8 or higher only), and support for exporting XAVC up to 4K and AVCi200. Cinema DNG can be debayered on a supported GPU for better performance. Support for the RED Dragon at 6K .

4. Improved Multicam Workflows: Further improved multicam workflows now allow for viewing of composite output changes in multicam editing view. Editors can easily turn angles on and off or rearrange them. The ability to track names or clip names was also added.

5. Improved Closed Captioning: New support for captions in MXF OP1A and Quicktime media and encoding to CEA-708 captioning standards. File name extensions with dfxp files can also now be imported.

6. Improved Link and Locate: Sequence settings are now editable enabling the ability to use Link & Locate to connect back to full resolution [online] media, having initially cut with proxy versions.
Audio Monitoring : Ability to down-mix multi-channel audio to stereo for monitoring purposes.

7. Improved High-Fidelity Interchange: New XML export to Autodesk Smoke workflows.

AfterEffects 12.1 Feature list

1. Mask Tracker: Quickly create a mask and apply an effect such as color correction that travels frame by frame throughout your composite. Mask Tracker eliminates the need to adjust the mask and effect throughout time and avoids repetitive rotoscoping tasks.

2. Upscale Effect: Preserve detail and sharpness while up scaling images up to HD or digital cinema size. The new up-scaling tool retains edge detail and reduces noise and artifacts.

3. Property Links: Copy and paste an effect, mask, or other properties from one layer to another so that the pasted instance has a live link to the original. Changes that you make to the original properties are reflected in the linked instances.

4. Faster Warp Stabilizer and 3D Camera Tracker: Analyze your footage up to 80% faster with new speed enhancements added to both the Warp Stabilizer VFX and the 3D Camera Tracker.

5. GPU optimizations: Work faster with GPU optimizations. Enhancements in the ray-traced 3D renderer enable you to quickly work with extruded text and shapes. Inclusion of the NVIDIA OptiX 3.0 library improves performance and stability for the ray-traced 3D renderer.

6. Media Browser : The Media Browser allows you to easily browse, open, and composite virtually any video format. After Effects links to traditional movie, image and audio files as well as industry standard file based media, such as P2 cards, XDCAM, RED, and ARRIRAW.

7. Adobe Anywhere Integration (Early Access): Collaborate on composites and animations with team members. Use the new Media Browser in After Effects to browse and open shared productions on the Anywhere server. Easily share compositions and media, and manage historical versions of shared work.

8. Improved Snapping: Layer and mask snapping behavior makes aligning both 2D and 3D objects simple, without needing to calculate and type in values. Now snap items to individual layers in a precomposition and to lines defined by a layer’s boundaries, even outside of the layer itself, making alignment even easier.

9. HiDPI Content Viewers: When using Apple Retina displays, see every pixel in your high-definition compositions, footage, and layers in sharp, HiDPI content viewers.

SpeedGrade 7.1 Feature list

1. Direct Link: Open native Premiere Pro projects within SpeedGrade for color grading work, and send them back to Premiere Pro with color corrections and looks applied for continued editing.

2. Multiple Masks: Create and save multiple masks within a single .look file.

3. SpeedLooks: Apply camera patches to balance the colors spaces of different types of cameras and combine these with sophisticated creative looks – the result is precision and beauty.

4. Expanded File Format Support: All of the native file formats supported by Premiere Pro can now be brought into SpeedGrade for grading as part of any Premiere Pro project.

5. Enhanced Timeline: Premiere Pro sequences appear on their own Timeline in SpeedGrade, providing all the tools you need for color work and displaying key information from the editorial pipeline .

6. Linked Masks: Layer and link masks for full control over complex Looks. Easily copy and modify Looks for new shots or on new projects.

Adobe Media Encoder 7.1 Feature list

1. Automated Image Processing: Create customized output of media, including watermarks and TimeCode overlays, as well as image processing, such as LUTs when rendering out new content.

2. Sync Settings: Easily sync application preferences between multiple computers via Creative Cloud

3. GPU Rendering: GPU rendering give users the same processing as Premiere Pro and offers significant performance improvements on any process that can take advantage of GPU acceleration.

Prelude 2.1 Feature List

1. Prelude Live Logger: Begin the production and logging process sooner by logging on your iPad while you shoot footage on your professional camera anywhere. Import and combine your metadata later with others and add it to your file-based footage through Prelude CC to have it flow throughout the production process.

2. Export Clips, Subclips, and Rough Cuts: In addition to exporting rough cuts, you can export clips and subclips you create in Prelude CC through Adobe Media Encoder.

3. Export Marker List: Quickly and easily review what content is in your media with a printed out list of markers. Easily run your team through the action by looking at line items which describe the metadata in your media throughout.

4. Expanded XMP Support: With added support of new media, continue to ingest and log your preferred footage in its native file, enabling greater control over the creative process.

5. Still Image Support: Bring still images into any rough cut that you create in Prelude CC.

Adobe Anywhere for Video:

1. Early access to After Effects integration : Collaborate on composites and animations with team members with Adobe Anywhere for video. For Anywhere users who have not invested in a MAM, use the new Media Browser in After Effects to browse, open, and edit compositions stored on the Anywhere server. Compositions are easily monitored to see the latest iterations and resolve version conflicts. Compositions are rendered locally and can be saved back onto the Anywhere server.

2. Growing File Support: Save time by allowing post-production and editing work to begin even as production continues with growing file support. The ability to work with files that are growing in duration, even as they are ingested is important, especially in fast turnaround workflows such as sports and live-to-broadcast shows. Adobe Anywhere supports the same formats for growing files as Adobe Premiere Pro.

3. iPad App: View productions and play back sequences on the Anywhere server from the field or a remote location using the Adobe Anywhere iPad App. (*Available via the App Store.)

How to setup to your drives to be compatible on Mac & Windows via ExFAT.

In most cases, you can simply format your single USB 3.0 drive on the Mac as ExFAT and it will just work on both Win7/8 and OSX 10.7 and higher. It will support both Read and write. I’ve been doing this for years and had great luck. WIth Thunderbolt, ExFAT formatting Raids to be cross platform compatible takes a little more effort.
For starters, use a Windows 7 or 8 machine to set up as the key seems to be in how the first partition is set.
1. Open a command prompt by typing cmd into the Start/search box and pressing Enter
this should open up a familiar DOS like command window.
2. Type format g: /FS:exFAT and then Enter to begin formatting the G drive as exFAT
You can use what ever letter you want . I use G or P for G-tech or Promise drives.
3. Press Enter.
4. Copy a few files onto the drive to insure it works for Read & Write.
5. Unmount the Raid/drive and power it down.
6. Power up the Raid/drive and connect to your Mac running 10.7 or 10.8. When it mounts, copy a few files to it and make sure it works.

6:46 PM Permalink
May 15, 2013

New BlueFX TitlerPro 2.0 for Premiere Pro and AfterEffects CC

In this video you’ll get a great walk through of the New Blue FX Titler Pro 2.0. This version now features support for After Effects as well as Premiere Pro. It also supports both CS6 and CC versions of those applications. Special thanks to Travis White of New Blue FX.

1:02 PM Permalink
May 14, 2013

Premiere Pro & AE Native Stereoscopic 3D Editing with V3’s QuickS3D

I’ve been working with Vision 3 for about year and half on this inexpensive plug-in to support our native tapeless formats in a Stereoscopic 3D workflow. This video will give you a general idea of how the plug-in works and some general guidance on setup.You can more info on the plug-in here:

12:48 PM Permalink
April 24, 2013

NAB 2013: What’s new in Premiere Pro

Here’s a video my buddy Ryan Brown (Indie Film Maker – shot in our booth. He’s got a great shooting style when it comes to shoot these types of “run and gun” videos.

In this video I give you a few of my favorite features that made the cut in the next version of Premiere Pro (2013). The features that I’m showing all came from end user requests via our Product Improvement Program under the Help Menu. Engineering really came through on this version and made over 200 changes without disrupting our current interface – no easy task. I’ll be posting more of those features shortly.

10:46 PM Permalink
December 21, 2012

BlueFish 444 I/O Setup for Premiere Pro CS6

Here’s a quick look at setting up your BlueFish 444 hardware with Premiere Pro CS6. It’s a quick guide to their driver setup and a great walkthru of their Controls and Software

Special Thanks to Tom Lithgow with BlueFish for taking the time to create the setup walkthrough.

4:20 PM Permalink
December 16, 2012

Shedding some light about Performance using the HP Z820 and NVIDIA Maximus

Here’s another quick video we did showing the latest HP Z820 dual processor system paired with 4 drive internal raid , NVIDIA Quadro 5000, and a Tesla 2075. The video tries to give you an idea of how the system performs with and without the Tesla board installed. I get lots of questions on how increase performance and thought this might shed some light.

3:04 PM Permalink
December 11, 2012

Thunderbolt Update late 2012

I’ve been promising to share some of the testing I’ve been doing with new Thunderbolt devices in regards to our video products. TB is really shaping up quite nicely and this video will show you some of the stuff in my video lab. I could only show what’s currently shipping or what the manufactures will allow me to show – so, there will be more updates on Thunderbolt coming in 2013 as I have lots more cool TB devices….

One of the main things I’ve been doing is testing various Thunderbolt Windows configurations. I’veI asked 3 Adobe Pro Video System builders to build a TB editing machine that they thought would catch my attention. I supplied the motherboards and gave them the freedom to build around it. All 3 did an excellent job. See what you think.

2:54 AM Permalink
December 5, 2012

Setting up 3rd party I/O Hardware and CS6


Lately I’ve been getting a lot questions from Premiere Pro users about I/O cards from AJA, Matrox, Black Magic, and Blue Fish. In many cases its been more about driver version requirements matching the version of Premiere Pro CS6 that they are using. As of the writing of this article, Premiere Pro CS6 has been updated to 6.03 for Windows and 6.02 for Mac.

Remember with Premiere Pro CS6 we introduced Adobe Mercury Transmit which is a set of APIs (Application Program Interface) added to Premiere Pro to allow 3rd parties to have direct access to the Adobe Mercury Playback Engine and it’s acceleration. This is a very different method of I/O from previous versions of Premiere or Premiere Pro.

There are several common setup issues that I keep seeing first hand from customers as well as the user to user forums that support our ProVideo & Audio products (many thanks to the people that reply to those posts).

I’ve been working with the leading 3rd party I/O companies that support Premiere Pro and our other Pro Video/Audio tools and will be posting links here. Please feel free to pass this information on to other forums. My main goal is to get people familiar with how setup needs to be done to make it easier to identify hardware driver or Adobe issues.

New Premiere Pro users that are used to FCP or Avid set ups should find these setup videos helpful as well.

AJA I/O Hardware Setup for Premiere Pro CS6

Matrox MXO2 I/O Setup for Premiere Pro CS6

Blackmagic Design I/O Setup for Premiere Pro CS6

3:12 AM Permalink
July 23, 2012

Adobe Premiere Pro CS6 Partner Panels featuring Pond5

In this video you’ll get a chance to see how adding an Adobe Partner Panel can add additional features to your Adobe applications. I’ve selected Pond 5 as a featured partner to show this off. You’ll be able to quickly add clips to your Project Bin directly within Premiere Pro CS6. Pond5 is free to sign up and start using. You’ll have the option to purchase the HiRes versions of the clips once see how they work in your existing project. It’s an excellent workflow and a great way to add clips to any project. Here’s the link to get the free plug-in for Premiere Pro CS6: www.

1:27 PM Permalink